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 20729). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p028 RIGHT — 34 lignes

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1 (vide) annotation_inline
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2 39 page_number
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3 TRANSLATION page_header
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4 applied without any svara forming an exception. Out of sixty-three (anisas), main
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5 nine amsas that pertain to the four jātis which are always complete, should main
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6 be subtracted. That is thus-pa-sa-ga-pa-ri-pa-dha-ni-pa. When these nine are main
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7 subtracted, fifty-four amsas remain. Out of them (again) the seven amsas of main
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8 six jātis viz. ṣadjamadhyamā, ṣadjodīcyavā, kaišikī, gāndhārī, raktagāndhārī main
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9 (and) ṣādjī, should be subtracted. When seven ainsas are subtracted, there main
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10 are forty-seven anisas. That is thus - main
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11 Madhyamodicyavā (becomes non-ṣāḍava) with pa, similarly gāndhārapañcamī main
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12 (and) kārmāravī (become non-ṣāḍava) with ri-pa-ni-dha (and ) ṣaḍjakaiśiki main
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13 (becomes so) with sa - ga - pa. annotation_inline
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14 (257) annotation_inline
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15 [ Anu. 140] editorial_bracket
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16 This means .....in the forty-seven anisas, the formation of ṣāḍava should main
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17 be carried out with the said svaras. annotation_inline
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18 Now he (the author) shows the svaras that are not exceptional <math>^{53}</math> in the main
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19 formation of auduvita - annotation_inline
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20 In the same way, those that are free from being exceptional are thirty main
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21 (amśa svaras that form) auduvita. main
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22 (258) annotation_inline
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23 [Anu. 141] editorial_bracket
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24 This means - in that way, those devoid of exception should be known to main
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25 be of thirty kinds. That is thus - out of sixty-three, nine anisas belonging to main
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26 the four jātis that are always complete (in which omission is not prescribed) main
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27 should be subtracted. After their subtraction, fifty-four amsas remain there. main
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28 There also out of fifty-four, twelve amsas of the four jātis that are always main
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29 complete and ṣāḍava, should be subtracted. After their subtraction, out of main
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30 forty-two (being the remainder), twelve anisas that do not form auduvita in main
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31 five jātis, viz. gāndhārī, raktagāndhārī, ṣaḍjamadhyamā, kaiśikī and pañcamī, main
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32 should be subtracted. After their subtraction, the formation of auduvita main
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33 takes place with thirty amśa svaras that have been spoken of. Similarly has main
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34 said Bharata- annotation_inline
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vol_II_p110 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 203 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 [2. Māngālī] section_header
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4 Having gāndhāra as graha and nyāsa, şadja as amśa, devoid of tāra, sa (şadja) main
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5 being mandra (low), it is always devoid of pa-ri (pañcama-ṛṣabha). main
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6 (354) annotation_inline
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7 Having şadja as amsa, dha (dhaivata) as graha (and) nyāsa, having dha main
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8 (dhaivata) as low (mandra), leaning towards high (tāra), formed with even main
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9 svaras and being complete, <math>m\bar{a}ng\bar{a}\bar{u}^{12}</math> is sung by the people. main
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10 (355) annotation_inline
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11 [3. Bhammānikā] section_header
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12 Bhammānikā 13 should be known by the wise to have pañcama as amsa, graha main
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13 and nyāsa, low ga (gāndhāra) (and) high şadja, being devoid of ri (ṛṣabha) and main
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14 with sparse dha-ga (dhaivata- gāndhāra). main
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15 (356) annotation_inline
parent ligne 14
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16 [4. Pulindikā] section_header
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17 Pulindikā14 has dhaivata as nyāsa, is devoid of ga-pa (gāndhāra-pañcama) main
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18 (and) there is concert between sadja-dhaivata and similarly between dhaivata- main
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19 rşabha. annotation_inline
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20 (357) main
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21 [5. Gāndhārasindhu] section_header
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22 Gāndhārasindhu<sup>15</sup> ..... table
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23 (358) main
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24 [6. Kārņāţī] section_header
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25 Having sadja as nyāsa and graha, dha (dhaivata) as amsa, high ga main
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26 (gāndhāra) and low madhyama, with even svaras and complete, is (the bhāṣā) main
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27 karnāļi<sup>16</sup> by name. main
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28 (359) main
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29 ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, annotation_inline
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30 Thus ends the fifth chapter entitled desi-rāgādhyāya in main
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31 Bṛhaddesī composed by Matanga Muni. main
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vol_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
parent ligne 11
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
parent ligne 21
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
parent ligne 25
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
parent ligne 28
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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vol_II_p092 RIGHT — 29 lignes

page vol_II_p092 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 167 page_number
via heuristic_pagenum
3 Kaiśikī has pañcama as nyāsa, madhyama as amśa, is weak in ni(niṣāda), main
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4 there is (mutual) movement between madhyama-dhaivata and abundance of main
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5 pancama. This bhāṣā is born of pancama (rāga) and is always sankīrṇā main
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6 (mixed). annotation_inline
parent ligne 5
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7 (102) main
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8 Illustration-Pรับหลัdhลับidhลัpลีpลิpลิdhลับidhaัdhaัdhลับหลับกลับกลัdhลับกลัdhลัdhลับโรรั- main
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9 sārirīpāpā mādhāmādhamadhadhamāmādhā. Niripāpā. Kaišikī [x] editorial_bracket
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10 These are the ten <i>bhāṣās</i> in <i>pancama</i> (<i>rāga</i>) described by Yāṣṭika. main
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11 (103) main
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12 [6. Bhāṣāsin bhinnaṣaḍja] section_header
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13 After this, I shall speak of the <i>bhāṣās</i> in <i>bhinnaṣaḍja</i>. main
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14 (104) annotation_inline
parent ligne 13
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15 Having dhaivata as amsa and the same as concluding note, being devoid main
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16 of pañcama and ṛṣabha,45 having to and fro movement between ṣaḍja- main
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17 gāndhāra, this śuddhā (bhāṣā) should be known by the performers to subsist main
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18 in bhinnaṣadja and it becomes pentatonic when devoid of ṣadja.46 main
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19 (105) annotation_inline
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20 lllustration-Dhādhāmāgāmāmāgagasanisanisanidhanidhādhāmānimāmāg main
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21 ลังกลัฐจรรับก่ฝาลฝาลัปกลับก่รรัปกลเกล้ฐริธาก่าก่าเปกลีปกลิปกลัฐริธาลปกลากลัฐริธาฐริธาลี main
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22 gamadhamadhasigāsisimādhāmāmadhamagāgamasisisigāsinininismidhādhā main
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23 dhānidhāmanadhamadhamasīgāmadhāmāsā. Sānidhānidhānīgāsānidhānidhā main
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24 Suddhā [i] editorial_bracket
parent ligne 23
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25 Having dhaivata as amsa, dhaivata as the concluding note, the concert main
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26 between sadja-dhaivata, there being (mutual) movement between sadja- main
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27 dhaivata and ṛṣabha-madhyama, the vibhāṣā dākṣiṇātyā bears the name of deśa main
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28 (region)<sup>47</sup> and is born of (bhinna) şadja. main
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29 (106) main
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vol_I_p024 LEFT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDEŚ</b>I page_header
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2 30 page_number
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3 तथा चाह कोहलः — main
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4 <b>"जातिभाषादिसंयोगादनन्तः कीर्तितः स्वरः।</b> main
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5 <b>॰पदैर्युक्तस्त्वलमिति कृतौ योज्यो रसेष्वपि</b>"।। इति। annotation_inline
parent ligne 4
via heuristic_markers
6 。स्ता。 annotation_inline
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7 ना annotation_inline
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8 नित्योऽविनाशी। व्यापकः सर्वगतः। main
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9 तथा चाह कोहलः — annotation_inline
parent ligne 8
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10 "ऊर्ध्वनाडीप्रयत्नेन सर्वीभत्तिनिघट्टनात्। main
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11 मुर्छितो ध्वनिरामुर्ध्नः स्वरोऽसौ व्यापकः परः"।। main
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12 [ अनु. १७ ] editorial_bracket
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13 ननु षड्जादीनां कथं स्वरत्वम् ? व्यञ्जनत्वात्। यदि व्यञ्जनानां main
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14 स्वरत्वमभिधीयते, तदानीं कादीनामेवास्तु स्वरत्वम्। main
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15 अत्रोच्यते — असाधारणत्वात् षड्जादीनामेव स्वरत्वं न कादीनामिति। main
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16 ननु षड्जादीनामसाधारणत्वं कथम् ? आप्तोपदेशात् षड्जादीनामसाधारणत्वम्। main
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17 तथा चाह कोहले महेश्वरः- main
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18 ｡लः annotation_inline
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19 "षड्जं वदति मयूर ऋषभं चातको वदेत्। main
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20 अजा वदित गान्धारं क्रौञ्चो वदित मध्यमम्।। main
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21 ्नित annotation_inline
parent ligne 20
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22 पुष्पसाधारणे काले कोकिलः पञ्चमं वदेत्। main
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23 प्रावृद्काले तु सम्प्राप्ते धैवतं दर्दुरो वदेत्।। main
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24 सर्वदा च तथा देवि। निषादं वदते गजः॥" main
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25 यद्वा ऊर्ध्वध्वनिगामित्वेन षड्जादीनामेवासाधारणत्वमिति, अथवा main
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26 ₄व annotation_inline
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27 षड्जादयः स्वरा न भवन्ति, आकारादय एव स्वराः। षड्जादयस्तु main
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28 तेषामाकारादीनामुच्चारणार्थमिति। main
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155 lignes a valider — change uniquement les roles incorrects.