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 20737). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p151 LEFT — 47 lignes

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1 Page 1000 unknown
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2 284 page_number
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3 BRHADDEŚĪ section_header
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4 (ii) main
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5 बाङ्गाली भित्रपड्जे या मतङ्गस्य मते स्थिता । main
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6 तस्या भाषाङ्गतामाह सर्वाङ्गपरिपृरित:॥ main
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7 Ibid.3.119. annotation_inline
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8 9. cf. main
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9 (i) annotation_inline
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10 ममन्द्रा पड्ज-तारा च ग्रहन्यासांशपञ्चमा । main
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11 स्वल्प-धैवत-गान्धारा भम्माणी ऋषभेऽक्रिया[?]॥ editorial_bracket
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12 C.r. in Bha Bhā VII.231. main
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13 (ii) annotation_inline
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14 त्रिपा सतारा मृदुमस्वरा च, हीना निगाभ्यां धगताल्पता च । main
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15 भम्माणिका याष्ट्रिकसम्मतेन भाषाङ्गमुक्ता वसुधाधिपेन ॥ main
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16 S Rāj 11.2.3.112. annotation_inline
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17 10. cf. (i) main
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18 सान्ता धांशा हीनगपा पुलिन्दी भिन्नपङ्जजा । main
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19 सधयोः समयोर्युक्ता पुलिन्दजनबङ्गभा ॥ main
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20 Kalā (appendix) on SR II. p.140. main
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21 (ii) annotation_inline
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22 पुलिन्दिका भिन्नपङ्जे पूर्वमेवोदिता तु या । main
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23 सैव भाषाङ्गमित्युक्ता सर्वभाषाङ्गवेदिना ॥ main
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24 S Rāj II.2.3.77. annotation_inline
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25 11. The description (lakṣaṇa) is lost due to a break in the text. In S Rāj main
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26 II.2.2.17a gāndhārasindhu is mentioned as a bhāṣānga, but its definition is not main
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27 given even in that text, on the plea that it is not 'seen in current practice'. main
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28 न लक्षितात्र गान्धारसिन्धुर्लक्ष्येप्वदर्शनात् । main
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29 S Rāj II.2.3.107. annotation_inline
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30 12. P.t. is confused as - main
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31 गान्धारसिन्धुपङ्जन्यासग्रहा धांशधारिता । main
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32 + + + + + + + + + + मन्द्रमध्यमा॥ main
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33 Reconstruction based on (ii) and (iii) below(note 13). main
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34 13. cf. (i) annotation_inline
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35 गान्धारतारा मृदुमा धैवतांशग्रहान्तिमा । main
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36 समशेपस्वरा पूर्णा कर्णाटी वर्णिता भये ॥ main
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37 S Rāj II.2.3.108. annotation_inline
parent ligne 36
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38 थान्ता (धांशा) षड्जग्रहन्यासा तारगा मन्द्रमध्यमा । main
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39 (ii) annotation_inline
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40 समशेपस्वरा पूर्णा कर्णाटी कर्णरक्तिदा ॥ main
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41 इमां भाषां समाचष्ट मतङ्गादिविदां गण:। main
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42 रागाङ्गमाह नि:शङ्को ग्रामरागानुसारत: ॥ main
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43 S Rāj II.2.2.113,114. main
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44 (iii) annotation_inline
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45 षड्जन्यासग्रहा धांशा स(ग)तारा मन्द्रमध्येमा । main
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46 समस्वरा च सङ्कीर्णा पूर्णा पूर्णाटका मता ॥ main
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47 Kalā (appendix) on SR II, p. 128. main
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vol_I_p053 RIGHT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 89 page_number
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2 <b>TRANSLATION</b> page_header
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3 (manifested) in the bodily<sup>21</sup> (<math>v\bar{i}n\bar{a}</math>). That is why it has been said that just as these main
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4 (varṇas) exist (in the bodily <math>viṇ\bar{a}</math>), similarly do they bring (themselves) into main
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5 effect (on the wooden <math>vin\bar{a}</math>); this meaning is inherent in the mention of <math>sanra^{22}</math> main
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6 (bodily) svaras (in the verse of NS quoted above). main
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7 So has been said - annotation_inline
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8 These four varnas should be known as the constructors23 of melodic main
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9 (NŚ XXIX, 19ab) annotation_inline
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10 rendering. annotation_inline
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11 [Thus end the varnas] editorial_bracket
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12 [The Alankaras] section_header
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13 (Anu. 68) annotation_inline
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14 Now the well-known thirty-three 24 alankāras are being described by name main
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15 and application. What is spoken of through the word alankara and what is its main
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16 etymology? It is being answered. Ornament25 is being spoken of by the word main
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17 alankāra. Just as a man or woman adorned with a bracelet on the forearm, main
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18 middle-arm and the like, bears beauty (becomes beautiful), similarly the singing main
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19 that subsists in varņas (and is) adorned by these alankāras (known as) main
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20 prasannādi and the like, becomes delightful to the performers and listeners. main
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21 And the etymology is like this—the root 'du krñ' in the meaning of doing or main
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22 making bears the prefix alam (sufficient or adequate) and (the word) alankāra main
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23 (derived thereby) means that which makes something sufficient or adequate. main
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24 This word alankara has the end-suffix ghan. main
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25 (Anu. 69) annotation_inline
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26 The names<sup>26</sup> of alankāras are being said (1) Prasannādi (having prasanna or main
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27 mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower main
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28 svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning main
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29 and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama main
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30 (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the main
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31 line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu main
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32 (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity main
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33 or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) main
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34 (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and main
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35 low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) main
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36 Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or main
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37 graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka main
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38 (constantly moving or restless) (19) Krama (a specific order or sequence), (20) main
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39 i annotation_inline
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40 Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or main
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41 sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka main
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42 (the rotating one), (24) Parivartaka (moving to and fro, changing), (25) main
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vol_II_p023 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 11.<b>1</b> annotation_inline
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2 BRHADDEŚĪ page_header
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3 28 page_number
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4 ज्ञेयो गान्धारपञ्चम्याः पञ्चमोऽशः प्रयोक्तभिः। main
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5 ·सर्षभ: स्यादपन्यासो न्यासो गान्धार इष्यते ॥२३०॥ main
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6 (नांयासौ?न्यासो) main
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7 1000 page_number
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8 गान्धार्यामथ<sup>७०</sup> पञ्चम्यां यत्सञ्चारादि कीर्तितम् । main
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9 (T) annotation_inline
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10 ন: annotation_inline
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11 तदस्यामपि विज्ञेयं किन्तु पूर्णस्वरा सदा ॥२३१॥ main
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12 आन्ध्र्यामनंशा विज्ञेया: षड्जमध्यमधैवता: । main
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13 अन्यूः annotation_inline
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14 षाडवं षड्जहीनं.स्यात्र्यासो गान्धार इष्यते ॥२३२॥ main
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15 तु न्यासो<sup>७८</sup> main
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16 नन्दयन्त्यामपन्यासौ ज्ञेयौ मध्यमपञ्चमौ । main
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17 न्सो annotation_inline
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18 ग्रहो न्यासश्च गान्धार्: पञ्चमोंऽश: प्रकीर्तित: ॥२३३॥ main
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19 आन्ध्रीवत् षाडवं ज्ञेयमनौडुवितमेव च। main
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20 पो॰ annotation_inline
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21 <b>प्नो</b>॰ annotation_inline
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22 स्यान्मन्द्रर्षभसञ्चारो लङ्घनीयश्च स क्वचित् ॥२३४॥ main
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23 (ন্দ?< annotation_inline
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24 कार्मारव्यामनंशास्तु षड्जगान्धारमध्यमाः । main
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25 व्यञ्चमाः<sup>७९</sup> main
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26 पूर्णता, पञ्चमो न्यासो गान्धारगमनं बहु ॥२३५॥ main
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27 कैशिक्यामृषभोऽनंशो न्यासौ तु द्विश्रुती[स्मृतौ]। editorial_bracket
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28 न्ती +++ annotation_inline
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29 ऋषभो धैवतश्चैव हेयावस्यां यथाक्रमम् ॥२३६॥ main
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30 ८॰पञ्चमोऽपि भवेत्र्यासो निषादेंऽशेऽथ धैवते । annotation_inline
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31 (व?वे)न्या(सी?सो) main
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32 136 13 annotation_inline
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33 ऋषभ: स्यादपन्यास: कैश्चिदुक्तोंऽशवत् तथा ॥२३७॥ main
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vol_II_p121 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 225 page_number
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3 The lineage of kṣatriyas is there and the rasa has been said to be raudra. main
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4 Where there are five analoganas <math>^{40}</math> and the sixth is a vāyugana, <math>^{41}</math> lo! that elä main
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5 is known to be <i>hamsāvatī</i>, by the experts in music. main
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6 (430) main
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7 [3. Nandāvatī] section_header
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8 Combined with small gamakas in mālavakaišika rāga, the nandāvatī elā is main
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9 sung in <i>pratitāla</i>. main
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10 (431) annotation_inline
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11 Indrāņī is the devatā (presiding deity), sāttvatī is the vṛtti<sup>42</sup> spoken of here, main
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12 gaudi is the <math>riti^{43}</math> spoken of (and) yellow is the colour accepted by the wise. main
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13 (432) annotation_inline
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14 Vīra is the rasa that is said to be, (this clā) is born of the lineage of vaisyas. main
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15 Everything (else) beginning with rāga should be done as in nādāvatī. main
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16 (433) annotation_inline
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17 Where there are five <math>ambara</math>-gaņas, <math>^{44}</math> combined with <math>m\bar{a}rta\eta daga\eta as^{45}< main
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18 should be known as nādāvatī elā by the experts in music. main
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19 (434) main
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20 [4. Bhadrāvatī] section_header
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21 Structured with padas one by one, brimming with mūrchanā 46 sounds, main
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22 combined with kańkāla tāla, it is sung in kakubha (rāga). main
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23 (435) annotation_inline
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24 Bhadrāvatī elā is born of the śūdra caste and should be known to be of black main
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25 colour, being bedecked with vaidarbhī rīti.47 main
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26 (436) annotation_inline
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27 Combined with bhāratī vṛtti 48 and embellished with bībhatsa rasa, it is said main
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28 to be endowed with vārāhī devatā,49 by those adept in music. main
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29 (437) annotation_inline
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30 Where there are five <math>bh\bar{u}mi</math>-gaņas<sup>50</sup> and similarly the sixth is <math>jalagaņa_i^{51}</math> main
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31 that is known by the best among munis to be famous as bhadrāvatī. main
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32 (438) main
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vol_I_p029 RIGHT — 22 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 41 page_number
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2 TRANSLATION page_header
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3 The vadi-maṇḍala in madhyama-grāma is thus - ma pa dha ni sa ri ga. main
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4 The samvādi-mandala in madhyama-grāma is thus- main
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5 ma unknown
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6 pa unknown
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7 ga unknown
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8 Γi unknown
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9 dha unknown
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10 ni unknown
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11 sa unknown
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12 • annotation_inline
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13 The anuvādi-maṇḍala in madhyama-grāma is thus - main
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14 ŧ annotation_inline
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15 ma unknown
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16 pa unknown
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17 ga unknown
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18 <math>\vec{\Pi}</math> unknown
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19 dha unknown
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20 . annotation_inline
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21 ni unknown
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22 sa unknown
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176 lignes a valider — change uniquement les roles incorrects.