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 20756). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p121 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 225 page_number
via heuristic_pagenum
3 The lineage of kṣatriyas is there and the rasa has been said to be raudra. main
via surya_layout
4 Where there are five analoganas <math>^{40}</math> and the sixth is a vāyugana, <math>^{41}</math> lo! that elä main
via surya_layout
5 is known to be <i>hamsāvatī</i>, by the experts in music. main
via surya_layout
6 (430) main
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7 [3. Nandāvatī] section_header
via surya_layout
8 Combined with small gamakas in mālavakaišika rāga, the nandāvatī elā is main
via surya_layout
9 sung in <i>pratitāla</i>. main
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10 (431) annotation_inline
parent ligne 9
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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
parent ligne 12
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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
parent ligne 15
via heuristic_short
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
parent ligne 22
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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
parent ligne 25
via heuristic_short
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
parent ligne 28
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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_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
via surya_layout
2 185 page_number
via heuristic_pagenum
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
parent ligne 5
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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
parent ligne 8
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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
parent ligne 15
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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
parent ligne 19
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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
via heuristic_brackets
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_p121 LEFT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
parent ligne 4
via heuristic_height
2 BRHADDEŚĪ page_header
via surya_layout
3 224 page_number
via heuristic_pagenum
4 क्षत्रियाणां कुलं चैव रसो रौद्र: प्रकीर्तित: । main
via surya_layout
5 यत्रानलगणाः पञ्च षष्ठो वायुगणस्तथा ॥ main
via surya_layout
6 एला हंसावती हन्त सा स्मृता गीतपारगै: ॥४३०॥ main
via surya_layout
7 [३. नन्दावती] section_header
via surya_layout
8 लघुभिर्गमकैर्युक्ता रागे मालवकैशिके । main
via surya_layout
9 एला नन्दावती नाम प्रतितालेन गीयते ॥४३१॥ main
via surya_layout
10 इन्द्राणी देवता, वृत्ति: सात्त्वती तत्र कीर्तिता । main
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11 गौडीया कथ्यते रीति:, पीतो वर्ण: स्मृतो बुधै: ॥ ४३२॥ main
via surya_layout
12 रसो वीर: समाख्यातो, वैश्यानां कुलसम्भवा। main
via surya_layout
13 व्य: annotation_inline
parent ligne 12
via heuristic_height
14 नादावत्यामिव सर्वं कर्तव्यं रागपूर्वकम् ॥४३३॥ main
via surya_layout
15 (न?ना) annotation_inline
parent ligne 14
via heuristic_height
16 यत्राम्बरगणाः पञ्च मार्तण्डगणसंयुताः । main
via surya_layout
17 मार्ताण्ड॰ annotation_inline
parent ligne 16
via heuristic_markers
18 एला नन्दावती सा तु विज्ञेया गीतवेदिभि: ॥४३४॥ main
via surya_layout
19 [४. भद्रावती] section_header
via surya_layout
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
via surya_layout
24 भारतीवृत्तियुक्ता च बीभत्सरसभूषिता । main
via surya_layout
25 वाराहीदेवतोपेता कथिता गीतकोविदै: ॥४३७॥ main
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26 यत्र भूमिगणाः पञ्च षष्ठो जलगणस्तथा । main
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27 भद्रावतीति विख्याता सा स्मृता मुनिपुङ्गवै: ॥४३८॥ main
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28 पुटपुङ्गवै: (?) annotation_inline
parent ligne 27
via heuristic_height

vol_I_p039 RIGHT — 35 lignes

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1 61 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Audūvita is with five svaras; its lakṣaṇa (description) is fivefold, it is main
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4 numbered thirty-five,33 as explained by the ācāryas (teachers). main
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5 (101) annotation_inline
parent ligne 4
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6 (Anu. 42) annotation_inline
parent ligne 4
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7 With (the omission of) șadja, rșabha, pañcama and nișāda the șādava main
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8 (mūrchanās) of ṣadja-grāma (come into being). Those devoid of ṣadja, ṛṣabha and main
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9 gandhara are şadavas in madhyama-grama. main
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10 (Anu. 43) annotation_inline
parent ligne 9
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11 The state of auduvita (comes into being) on account of the omission of main
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12 (two) samvadins,34 because of this statement the general rule is that the state of main
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13 auduvita is attained through two samvadin svaras. Sometimes the state of main
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14 auduvita comes into being with (the omission of) two55 anuvādin svaras, this is main
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15 also a general rule. Sometimes the state of anuvadin does come into existence main
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16 with (the omission) of pañcama-ṛṣabha in ṣadja-grāma (and) that of dhaivata- main
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17 rşabha in madhyama-grāma. main
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18 The auduvitas in şadja-grāma are devoid of pañcama-şadja, two (svaras) that main
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19 are comprised of two śrutis (each) (viz. gandhāra and niṣāda) and pañcama- main
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20 (102) annotation_inline
parent ligne 19
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21 rşabha. main
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22 The pentatonic tānas in madhyama-grāma are verily devoid of dhaivata-ṛṣabha main
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23 and two (svaras) comprised of two śrutis (each) (viz. niṣāda and gāndhāra). main
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24 (103) annotation_inline
parent ligne 23
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25 (Anu. 44) main
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26 Now he (the author) demonstrates this very (description) with prastara.36 main
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27 That is thus in sadja-grāma— main
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28 X ri ga ma pa dha ni main
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29 ni X ri ga ma pa dha main
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30 dha ni X ri ga ma pa main
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31 pa dha ni X ri ga ma main
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32 ma pa dha ni X ri ga main
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33 ga ma pa dha ni X ri main
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34 ri ga ma pa dha ni X main
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35 (Tānas) devoid of şadja. main
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vol_I_p080 LEFT — 45 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 142 page_number
via heuristic_pagenum
2 BRHADDESI page_header
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3 only by implication. It was considered better to mention the 'change of grāma' main
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4 rather than the explicit mention of madhyamagrāma. main
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5 16. Shake on svaras composed of three śrutis each has been spoken of in main
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6 Nātyašāstra and Abhinava Bhāratī cf. NŚ XXX, 7 where rṣabha and dhaivata main
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7 (the two svaras made up of three śrutis each ) have been said to be played with main
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8 shaking fingers. Abhi Bhā on NŚ XXVIII, 21 also speaks of shake on svaras main
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9 composed of three śrutis both in the Vedic and non-Vedic traditions. In the main
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10 description of alankāras NŚ XXIX, 43 speaks of shake for three kalās in the main
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11 kampita alankāra and this description seems also to apply to recita and kuhara main
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12 mentioned in the same verse. Abhinavagupta comments that kalā here, stands main
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13 for 'sruti'. In view of all these postulations the P.t. reading 'dvisruti' has been main
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14 changed to 'triśruti'. In the description of the next two 'alankāras' P.t. also reads main
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15 triśruti'. annotation_inline
parent ligne 14
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16 17,18,19. P.t. is extremely confused here and hence it has not been noticed. main
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17 20. P.t. reads after 'athava' वेल षड्जग्रामे षड्जाद्याः सप्त मूर्खनाः मध्यमग्रामे मध्यमाण्च सप्त। main
via surya_layout
18 एताष्ट्रचतुर्दम मूर्खनाः। प्रत्येक चतुर्धा भवन्ति। धुद्धा करकलिकलिता सान्तरा तद्द्वयोपेता चेति। एकैकस्या main
via surya_layout
19 मूर्जनायाप्रचतुर्विधत्वात् यत्त्रज पञ्चचत्वारिष्ठायुतानि पञ्चसहस्राणि 'कूटकूटतानानाम् (?)। main
via surya_layout
20 षद्पञ्चाशन्पूर्छनास्ताः पूर्णकृटास्तु योजिताः ॥ main
via surya_layout
21 लक्षड्रय सहस्राणि इचामीतिई मते तथा। main
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22 चत्वारिमञ्च संस्थाता अथापूर्णा ( त् ? न् ) प्रचक्ष्महे ॥ main
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23 एकैकाद्यग्निवरहाद् गमजा घड्जादयः स्वराः । main
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24 एक्स्बरोऽत्र निर्भेदोऽप्युक्तो नष्टोदिसिद्धये ( ७ )॥ main
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25 क्रमादकूटतानत्वे युक्तास्तेषूपयोगिनः । main
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26 सप्तस्थानानि – आधारस्वाधिष्ठानानाहतमणिपूरक ( अनाहत ? ) विशुद्धचाजाब्रह्मरन्ध्रेषु। गमपधनिस। रि। main
via surya_layout
27 सरिगरिगामग । ममपमधपपध निधनिधनिस । प्रस्तारः ॥ annotation_inline
parent ligne 26
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28 This portion is totally out of context and bears evidence to extreme confusion main
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29 in the MSS. The enumeration of seven sthanas in the last sentence of this main
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30 portion is, however, interesting. main
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31 21,22. P.t. is utterly confused and hence has not been noticed. main
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32 23. P.t. reads -सचरन्तावारोहक्रमेणा (रोहक्रमेणा?) वरोहादुद्वाहितः । main
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33 We have added 'ca' (and) after 'avarohāt' in accordance with Sanskrit main
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34 idiom. annotation_inline
parent ligne 33
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35 24. P.t. is extremely confused and hence has not been noticed. list_item
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36 25. P.t. reads - list_item
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37 कं (ल ? ला) त्रयकरणात् (प्रा ? हा) दमानः साधासाधासाधा। नीपानीपानीपा। धामाधामाधामा। पागापागापागा। list_item
via surya_layout
38 मारीमारीमारी गासागासागासा। list_item
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39 The illustration has been repeated twice. main
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40 26. We have changed the long solfa-syllables here to short because the list_item
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41 description of this alankara in the text says that three kalas have to be made (in list_item
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42 each phrase). Six short syllables would make three long units (gurus) and one list_item
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43 guru is equal to one kalā as a standard unit. list_item
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44 27. Reading of MS B as noticed by the ed. list_item
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45 28. P.t. Catu (rtha). list_item
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173 lignes a valider — change uniquement les roles incorrects.