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 20752). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p070 RIGHT — 34 lignes

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1 1 page_number
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2 123 page_number
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3 <b>TRANSLATION</b> page_header
via surya_layout
4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
via surya_layout
5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
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6 performer), and vartini is moved downwards, visarjitā is moved outwards main
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7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
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8 (179, 180) annotation_inline
parent ligne 7
via heuristic_height
9 upwards, (and) patită reaches (touches) the ground. main
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10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
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11 two viz. kṛṣṇā and padmini27 are also (used). main
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12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
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13 (181) annotation_inline
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14 (Anu. 108) annotation_inline
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15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
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16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
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17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
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18 having the predominance of both is vitti vitti, (and) having the predominance main
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19 of instrument is citrā vṛtti. main
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20 (Anu. 109) annotation_inline
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21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
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22 temporal components in vittis) brought about by pāņi.51 It has been said — main
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23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
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24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
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25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
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26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
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27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
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28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
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29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
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30 (Anu. 110) annotation_inline
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31 The vādya (presentation on instruments) should be done with sama, atīta main
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32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
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33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
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34 110 page_number
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vol_I_p048 LEFT — 38 lignes

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1 <b>BRHADDES!</b> page_header
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2 78 page_number
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3 [ अनु₀ ५६ ] editorial_bracket
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4 कूटतानानां सहस्राणि पञ्च त्रयस्त्रिंशदधिकानि निष्पद्यन्ते। main
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5 <sub>०</sub>मस्त्रिः main
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6 दत्तिलेनाप्युक्तम्— annotation_inline
parent ligne 5
via heuristic_short
7 <sup>83</sup>"पूर्णाः पञ्च सहस्राणि त्रयस्त्रिशच्च संख्यया। main
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8 ुर्णः, annotation_inline
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9 मसत्, main
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10 कथयन्ति प्रतिग्राममुपायो गणनेऽधुना।" main
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11 नेधुनः दत्तिलम् ३९ ] editorial_bracket
parent ligne 10
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12 पयोगेन main
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13 गणनाऽत्र परेण तानप्रयोगेण पूर्वस्तानप्रयोगो हन्यते। तथा चाह main
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14 ₀मा₃ annotation_inline
parent ligne 13
via heuristic_markers
15 दत्तिलः — main
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16 "हन्यादनन्तरायेण पूर्वा यस्य क्रमोत्क्रमात्। main
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17 गुणकारसमास्तत्र क्रमाः ध्ये शेषाः स्युरुत्क्रमाः।" main
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18 दित्तलम् ४० | unknown
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19 माच्छे. annotation_inline
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20 [ अनु<sub>०</sub> ५७ ] editorial_bracket
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21 इदानी गुणनोपायं कथयति— द्वाभ्यां पराभ्यामेकः पूर्वो बऽहन्येत main
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22 J. annotation_inline
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23 द्वावेव भवतः। तौ च द्वौ त्रिभिर्हतौ षड् भवतः । ते [ च षट् ] editorial_bracket
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24 ्रित annotation_inline
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25 ्रत्वा annotation_inline
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26 चतुर्हताश्चतुर्विंशतिर्भवन्ति। सा चतुर्विंशतिः पञ्चभिर्हता शतं विंशत्यधिकं main
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27 भवति। विंशत्यधिकं शतं षड्भिर्हतं शतानि सप्त-विंशत्यधिकानि भवति। main
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28 ्रन्ति main
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29 तानि सप्तभिर्हतानि पञ्चसहस्राणि चत्चारिंशदधिकानि भवन्ति। unknown
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30 अनु₀ ५८ editorial_bracket
parent ligne 28
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31 तत्र क्रमकृतास्तान् स्फोटयित्वा ह्युत्क्रमकृतानि कूटतानानां सप्त- main
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32 स्वरप्रयोगात् पञ्चसहस्राणि त्रयस्त्रिशदधिकानि भवन्ति। main
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33 प्रस्तारो annotation_inline
parent ligne 32
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34 यथा— main
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35 तत्र षड्जस्वरस्य स इत्येकः क्रमः। ऋषभस्य सरीत्येक एव क्रमः। रिस main
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36 इति च व्युक्तमो द्वितीयः। गान्धारस्य सरिगेत्येकः क्रमः। गरिसेत्यादयो main
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37 ुम annotation_inline
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38 ुत्यतः annotation_inline
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vol_II_p132 LEFT — 50 lignes

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1 246 page_number
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2 BRHADDEŚĪ section_header
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3 Verse No. table
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4 Reading table
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5 Reading table
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6 BrD table
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7 Datti table
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8 BŗD table
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9 Datti table
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10 193 page_number
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11 49 page_number
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12 पड्जायाधैव table
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13 पड्जायास्त्वथ table
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14 194 page_number
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15 सधैवत्यो: table
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16 सधैवत्ये * table
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17 50 page_number
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18 *This reading is there in the Trivandrum edition of Datti which has been main
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19 changed by Mukund Lath to sadhaivatyoh. main
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20 12. Both p.t. and Datti read'tatha', but we have replaced it with list_item
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21 'tābhyām' because 'tathā' does not relate gāndhārī and pañcamī to gāndhāra- list_item
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22 pañcami as its components or progenitors. list_item
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23 13. cf. NŚ XXVIII 49-53 for verses 199-203 of our text. list_item
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24 14. The portion in square brackets has been added from list_item
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25 NŚ XXVIII.55, 56. list_item
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26 15. Reading in NŚ XXVIII. 57. list_item
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27 l 6. cf(i) श्रुतिस्वरग्रामसमूहाज्जायन्त इति जातय:, अथवा जायते रसप्रतीतिराभ्य इति जातय:,यद्वा सकलस्य list_item
via surya_layout
28 रागादेर्जन्महेतुत्वाज्जातयः, अथवा यथा नराणां ब्राह्मणत्वादयो जातयः, शुद्धा विकृताश्च, एवमेता अपीति जातयः। list_item
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29 C.r. in Sudhā on SR 1.7.3. p. 171. unknown
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30 ŧ annotation_inline
parent ligne 28
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31 (ii) निर्हेतौ समवायात् श्रुतिस्वरग्रहादिसमूहाद्यतो जायन्ते ततो जातय इति निर्वचनम् । list_item
via surya_layout
32 Abhi Bhā on NŚ XXVIII. p. 37. list_item
via surya_layout
33 17.cf. अंशग्रहादिशतयोजनाया जायन्त इति जातय इत्यन्ये । जाते रसं प्रति आभ्य(जायते रसप्रतीतिराभ्य)इति list_item
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34 वा सकलस्य रागादेर्जन्महेतुर्जातिरिति टीकाकार:। list_item
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35 Abhi Bhā on NŠ XXVIII.p.38. main
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36 18. Reconstruction based on BhaKo, p. 227. list_item
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37 Reconstruction based on Sudhā on SR I. 7.3 p. 171, list_item
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38 cf. शुद्धाश्च विकृताश्चैवमत्रापि जातिलक्षणम् । जातिर्द्धिधा शुद्धा विकृता च । शुद्धा सप्तविधा । विकृता एकादशविधा । list_item
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39 BhaKo p. 227. list_item
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40 20. 'Viścṣa' or specified 'lakṣaṇa' relates to the description of each list_item
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41 <i>jāti</i>, hence this word has been replaced by us with ‘ <i>daśavidha</i> ’ (tenfold) . list_item
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42 ग्रहांशी तारमन्द्री च पाडवीडुविते क्रमात् । अल्पत्वं च बहुत्वं च न्यासोऽपन्यास एव च ॥ list_item
via surya_layout
43 21. cf.(i) list_item
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44 <b>Datti.</b> 55, unknown
via fallback
45 ग्रहांशी तारमन्द्री च न्यासोऽपन्यास एव च । list_item
via surya_layout
46 (ii) list_item
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47 अल्पत्वं च बहुत्वं च पाडवौडुविते तथा ॥ list_item
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48 NŠ XXVIII.66. main
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49 22. Reading of MS B as recorded by the ed. list_item
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50 23. Datti 56 reads *<i>evametadyathājāti *</i>. list_item
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vol_II_p103 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 189 page_number
via heuristic_pagenum
3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
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4 Ravicandrā [ii] editorial_bracket
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5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
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6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
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7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
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8 (10) annotation_inline
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9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
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10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
parent ligne 9
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11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
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12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
parent ligne 13
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15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
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16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
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18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
parent ligne 18
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
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22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
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23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
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24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
parent ligne 26
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28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
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29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
parent ligne 29
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
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32 the opinion of Śārdūla. main
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vol_II_p113 RIGHT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 209 page_number
via heuristic_pagenum
3 prabandha svarārtha. Karaņa<sup>5</sup> has been said to be the fortieth, combined with main
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4 five (forty-five). annotation_inline
parent ligne 3
via heuristic_short
5 <math>(377-378)</math> main
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6 This varņasvara is known to be (numbered) forty combined with six main
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7 (forty-sixth); that which is muktāvalī should be known to be (numbered) main
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8 forty, combined with seven (forty-seven). main
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9 (379) annotation_inline
parent ligne 8
via heuristic_short
10 Pratāpavardhana is said to be the forty-eighth. Eight combined with main
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11 forty(forty-eight) are (the prabandhas) spoken of by the muni. main
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12 (380) annotation_inline
parent ligne 11
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13 I shall speak of their characteristics in brief for the sake of scholars. They main
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14 should be sung by those adept in music in accordance with the rules related main
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15 to <i>svara-tāla</i> and the like as well as <math>r\bar{a}gas^6</math>. main
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16 (381) main
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17 [The description of Prabandhas] section_header
via surya_layout
18 [1. <i>Kanda</i>] section_header
via surya_layout
19 That which is bereft of <i>tāla</i> and is combined with <i>pāṭas</i> and <i>birudas</i>, that main
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20 is kanda, mixed with the pada (text) of the Karpāṭa<sup>7</sup> language and the like. main
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21 (382) annotation_inline
parent ligne 20
via heuristic_short
22 Prabandhas like kanda are verily well-known in practice. main
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23 [2. <i>Vṛtta</i>] section_header
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24 There is never a regulation (or specification of tāla in) vṛtta (composed main
via surya_layout
25 in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka. The prominence main
via surya_layout
26 of metre has been clearly specified in them, by the munis. In the end the main
via surya_layout
27 placing of svaras<sup>9</sup> is (prescribed), others hold it to be devoid of svara. Others main
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28 say that it is (formed) in the vitta metre; that is also acceptable. main
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29 (383-384) main
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30 - --- annotation_inline
parent ligne 29
via heuristic_height
184 lignes a valider — change uniquement les roles incorrects.