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 20794). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p099 LEFT — 26 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 180 page_number
via heuristic_pagenum
3 १३०सुसम्पूर्णस्वरा ह्येषा भाषा वै गीयते जनै:। main
via surya_layout
4 बाह्यषाडविका तत्र भाषा वेसरषाडवे ॥ १३८॥ main
via surya_layout
5 उदाहरणम् -मामासारिसारिगारिसासासारिमा पाधैवतधापासामागापामध्यम। गागागारिगाग- main
via surya_layout
6 सासा annotation_inline
parent ligne 5
via heuristic_height
7 गधरिमा गानिसानिसाधपामामा । बाह्यषाडवा । [१] editorial_bracket
parent ligne 5
via heuristic_brackets
8 <i>•</i>पाइवम् annotation_inline
parent ligne 5
via heuristic_height
9 षड्जांशा मध्यमन्यासा गान्धारमन्द्रभूषिता । main
via surya_layout
10 गान्धा(रं?रे) annotation_inline
parent ligne 9
via heuristic_height
11 कर्तव्या षाडवा ह्येपा <sup>१३१</sup>नादाख्या रागषाडवे ॥ १३९॥ main
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12 पञ्चमेन विहीना तु षाडवा सम्प्रकीर्तिता । main
via surya_layout
13 सङ्कीर्णेयं सदा ख्याता लोकानां रिञ्जका मता ॥ १४०॥ main
via surya_layout
14 लोकिनी रिज्जकामिका annotation_inline
parent ligne 13
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15 उदाहरणम् - सासानिमामा सारिमामाधामामा रिगारिरिनिगासानिधामामा । नादाख्या। [२] editorial_bracket
parent ligne 13
via heuristic_brackets
16 [एते] वेसरषाडवे। editorial_bracket
parent ligne 13
via heuristic_brackets
17 भावेसर ॰ annotation_inline
parent ligne 13
via heuristic_markers
18 [१३. अथ भिन्नताने] section_header
via surya_layout
19 पञ्चमांशा तदन्ता च भिन्नताने प्रकीर्तिता । table
via surya_layout
20 ऋषभेण विहीना तु कर्तव्या गीतकोविदै: ॥ table
via surya_layout
21 साधारणा(उदा?) table
via surya_layout
22 साधारणकृता होषा भाषा <sup>१३२</sup>तानोद्भवा मता ॥ १४१॥ table
via surya_layout
23 .....[तानोद्भवा] table
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24 [एषा भिन्नताने] table
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25 [१४. अथ गान्धारपञ्चमे] table
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26 .....<sup>१३३</sup>[गान्धारी] table
via surya_layout

vol_II_p118 RIGHT — 31 lignes

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1 TRANSLATION page_header
via surya_layout
2 219 page_number
via heuristic_pagenum
3 [26. Kalahaṁsa] section_header
via surya_layout
4 Where, having sung one foot first, then svaras are sung, that is kalahamsa, main
via surya_layout
5 combined with tālas like jhampā. main
via surya_layout
6 (407) main
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7 [27. <i>Ghața</i>] section_header
via surya_layout
8 Where one-half is full of tenaka, that is ghata, like dvipadī. main
via surya_layout
9 (408) main
via surya_layout
10 [28. Cakravāla] section_header
via surya_layout
11 That which is sung with repetition, taking the last pada (textual-cum- main
via surya_layout
12 melodic unit of the preceding sub-section), being bedecked with the state main
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13 of yamaka, is said to be cakravāla.25 main
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14 (409) main
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15 [29. Tripadī or Şaţpadī] section_header
via surya_layout
16 Performed with any of the tālas and (rendered) exclusively with birudas, main
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17 that which is sung in a two-fold way....? main
via surya_layout
18 (410) main
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19 [30. Bandhakarana] section_header
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20 That which is sung by the gandharvas <math>^{26}</math> in karana tāla, with svaras coupled with main
via surya_layout
21 the akṣaras (syllables) of muraja (drum-variety), isagain, known as bandhakarana?7 main
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22 (411) unknown
via fallback
23 [31. Pāṭakaraṇa] section_header
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24 ٠ page_number
via heuristic_pagenum
25 The karaṇa (prabandha) named pāṭa is composed of pāṭas (syllables) of the main
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26 hands<sup>28</sup> (on a drum) main
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27 (412) main
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28 [32. <i>Kaivāţa</i>] section_header
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29 That which is sung properly with <i>pāṭas</i> alone, should be known by the main
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30 gandharvas as kaivāṭa, combined with tāla. main
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31 (413) main
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vol_II_p084 RIGHT — 34 lignes

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1 151 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
parent ligne 3
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5 dhāsāsāgāgadhari. annotation_inline
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6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
parent ligne 3
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7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
parent ligne 3
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8 Combined with şadja as the initial and concluding note, has concert of main
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9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
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10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
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11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
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12 (regional). annotation_inline
parent ligne 11
via heuristic_height
13 (65) annotation_inline
parent ligne 11
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
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15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
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16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
via surya_layout
18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
parent ligne 17
via heuristic_brackets
19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
via surya_layout
20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
via surya_layout
21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
via surya_layout
22 knowledgeable ones in music. main
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23 (66) annotation_inline
parent ligne 22
via heuristic_height
24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
via surya_layout
25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
via surya_layout
26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
via surya_layout
27 Sanisasā. Māṅgālī [iv] editorial_bracket
parent ligne 26
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
via surya_layout
31 name of deśa (region), being born of the Sindhu region. main
via surya_layout
32 (67) annotation_inline
parent ligne 31
via heuristic_height
33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
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34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
parent ligne 33
via heuristic_brackets

vol_I_p084 RIGHT — 51 lignes

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1 1 page_number
via heuristic_pagenum
2 Ė annotation_inline
parent ligne 6
via heuristic_height
3 151 page_number
via heuristic_pagenum
4 VIMARŚA page_header
via surya_layout
5 ì annotation_inline
parent ligne 6
via heuristic_height
6 2. Gita (lit. song or the act of singing) stands for the melodic aspect of main
via surya_layout
7 music which is rendered through the voice or stringed and wind instruments. main
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8 BṛD does not mention vādya along with gīta here, nor in verse 14 where desī main
via surya_layout
9 music is defined as 'that which is sung.' Since voice sets the model followed by main
via surya_layout
10 stringed and wind instruments, gita is the word for the melodic aspect of music main
via surya_layout
11 and the content of the above instruments is included in it. This extension of the main
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12 meaning of gita gets established when the word vādya is juxtaposed with it, main
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13 because in that case vādya gets restricted to drums. But here, in absence of that main
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14 juxtaposition, gita would acquire a further extension by way of also including main
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15 vādya in its orbit. Hence gīta stands here for the totality of music. It is notable main
via surya_layout
16 that gita is followed by svara in this verse. This looks like a repetition because main
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17 svara is the main constituent of gita. This could be construed as an emphasis on main
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18 'svara' through an independent reference to it. main
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19 3. Nrtta generally stands for pure dance where the delineation of artha main
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20 (meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263). main
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21 Nṛtta is dependent on nāda, because it has to be accompanied on instruments, main
via surya_layout
22 specially drums. annotation_inline
parent ligne 21
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23 4. The statement that the world is made up of nāda seems to be somewhat main
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24 out of place here, because the context is that of nada being the essence of main
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25 music and dance. But if one recalls the exposition of the order of manifestation main
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26 or formation of gandharva beginning from bindu and moving forward through main
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27 nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its main
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28 auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva) main
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29 incorporates all the stages upto gandharva and hence the fundamental nature main
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30 of nāda as established in gīta could be logically extended to the 'world' because main
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31 the world or phenomenon itself is a manifestation of nāda through the above main
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32 stages. SR expresses the same idea in the following manner - main
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33 "Nāda manifests the letters ( of alphabet ), letters constitute the word and main
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34 words make a sentence; so, the entire business of life is carried on through main
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35 language and therefore, the whole phenomenon (i.e. the world) is based on main
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36 nāda". (SR1, 2.2) annotation_inline
parent ligne 35
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37 Just as SR has related the business of life with nāda through verbal main
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38 communication that is based on the same, BrD has used gita in an extended main
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39 meaning, including in it all the manifestations of nada and has expounded nada main
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40 to be the essence of the whole world. annotation_inline
parent ligne 39
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41 It would be interesting to note here that S R also speaks of nāda being the main
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42 essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in main
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43 that context. annotation_inline
parent ligne 42
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44 "Nāda is the very essence of vocal music, instrumental music is enjoyable as main
via surya_layout
45 it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental main
via surya_layout
46 music); therefore, all the three together depend on nāda". (SRI, 2.1) main
via surya_layout
47 5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva main
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48 (three gods), representing three aspects of the manifestation of the Ultimate main
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49 Reality into the phenomenon of the universe, viz. creation, preservation and main
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50 destruction. Although the three of them occur in Vedic literature, yet the idea main
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51 (vide) annotation_inline
parent ligne 50
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vol_I_p077 LEFT — 45 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 136 page_number
via heuristic_pagenum
3 22. C.r. in S R I Sudhā, p. 94. list_item
via surya_layout
4 23. Added according to C.r. in S R I Sudhā, p. 94. list_item
via surya_layout
5 24. Portion added according to C.r. in S R I Sudhā, p. 95. list_item
via surya_layout
6 25. P.t. adds 'pañcama' before 'ṛṣabhaḥ' which is unwarranted. list_item
via surya_layout
7 26. P.t. combines sapta-svarāķ etc. and that has led to a misunderstanding list_item
via surya_layout
8 among scholars to the effect that Matanga has accepted the 'samvāda' of seven- list_item
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9 sruti interval in addition to that of nine and thirteen-sruti interval. (cf. IMJ, list_item
via surya_layout
10 No. 11-12, p. 57, article by P.L.S. on Matanga's Brhaddess ). Actually sapta is list_item
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11 related to 'svarāḥ'; hence a full-stop has been added after sapta and that clears list_item
via surya_layout
12 the whole confusion. list_item
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13 27. The ed. states that the text is broken here; the missing portion has been list_item
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14 taken by us from S R I Sudhā, p. 121. list_item
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15 28. Missing portion (verse 55-60) taken from C.r. in S R I Kalā, p. 79-81. list_item
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16 The cited verses are interspersed by Kallinatha with prose sentences of his own, list_item
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17 but they have been omitted by us. list_item
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18 29. C.r. in S R I Kalā, p. 81. list_item
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19 30. Sam S Sā, p. 14 and C.r. in S R I Kalā, p. 81. list_item
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20 31. This portion is missing in the MSS, it has been paraphrased in S R I Kalā, list_item
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21 p. 81 and cited in ibid. Sudhā, p. 97. list_item
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22 32. cf. व्हाजाती समी जेयी रिधी क्षत्रियजातिको । list_item
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23 निर्गा वैश्याविति प्रौक्तौ पञ्चमः शूद्रजातिकः ॥ list_item
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24 ( Sam Mak I. 29 ) main
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25 33. C.r. in S R I Sudhā, p. 97 and Sam Cû, p. 71. list_item
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26 34. C.r. in S R I Sudhā, p. 98. list_item
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27 35. Reading suggested by the ed. list_item
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28 36. C.r. in S R I Sudhā, p. 98. list_item
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29 37. C.r. in Sam Cu, p. 72. list_item
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30 38. C.r. in S R I Sudhā, p. 98. list_item
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31 39. cf. स्वराः सरिगमाश्चैव चत्वारो राक्षसाः स्मृताः । list_item
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32 पधौ मानुषसज्ञौ च निपाद दैवत विदुः ॥ list_item
via surya_layout
33 (Sam Mak I. 1.46) main
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34 40. After this P.t. has the following half-verse – main
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35 शृद्धजातिसमृत्पन्नी तौ काकल्यन्तरी स्वरी । main
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36 This is redundant and misplaced because verse 61 d has already spoken of main
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37 kākali and antara svaras being śūdra and this line does not fit into the context main
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38 after verse 72; hence it has been omitted by us. main
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39 41. cf. Nā Ši I.4.1,2 and Gītālankāra, p. 50. list_item
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40 42. cf. Nā Ši I.5.14-18. list_item
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41 43. The reading 'hara' suggested by the ed. in the place of 'bhi' of MSS. list_item
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42 44. cf. Nā Ši 1.5.12-14. list_item
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43 पर्जाञ्चतर्वारी च ऋषभस्य च गंद्रकः । list_item
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44 45. cf. list_item
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45 गान्धारस्य च शान्त च हास्यास्य मध्यमस्य च ॥ list_item
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187 lignes a valider — change uniquement les roles incorrects.