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 20797). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p005 RIGHT — 39 lignes

page vol_I_p005 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 INTRODUCTION section_header
via surya_layout
2 Bṛhaddeśi and more so its Puranic author Matanga Muni have been well main
via surya_layout
3 known in Sangītasāstra for more than one millenium. The text has been main
via surya_layout
4 profusely quoted in texts of Sangītaśāstra upto the 17th century. But for two or main
via surya_layout
5 three centuries it had gone into oblivion. There was no access to it in the main
via surya_layout
6 nineteenth century and the first quarter of the present century, until Pt. K. main
via surya_layout
7 Sāmbaśiva Śāstrī edited and published it in the Anantaśayana Granthāvalī No. 94 main
via surya_layout
8 (Trivandrum Sanskrit Series) in 1928. The following excerpts from his main
via surya_layout
9 introduction would throw light on the MSS retrieved by him. main
via surya_layout
10 "I would add, before concluding, that the present work though incomplete main
via surya_layout
11 has been published on account of its rare merit and that the manuscript of this main
via surya_layout
12 work was Travancore's contribution to the exhibition held at the All India main
via surya_layout
13 Conference of Scholars and Artists at Indore in 1921. main
via surya_layout
14 "The edition of the work is based on two palm-leaf manuscripts in Malayalam main
via surya_layout
15 characters obtained from the poonjar Raja, North Travancore. One of these main
via surya_layout
16 manuscripts marked as ka is exceedingly worn out; it is about four centuries old main
via surya_layout
17 and wanting in the first leaf as well as four leaves from the 41st. The other main
via surya_layout
18 manuscript marked as kha is fragmentary, ending with a portion of the main
via surya_layout
19 Jātiprakaraņa*. annotation_inline
parent ligne 18
via heuristic_height
20 "The work ends abruptly saying इदानीं कथियध्यामि बाह्यस्य निर्णयो यथा (p. 154) and so we main
via surya_layout
21 conclude that there are subsequent parts of the text yet to be discovered." main
via surya_layout
22 The text, available to Pt. K. Sāmbaśiva Śāstrī, is incomplete and it has not main
via surya_layout
23 been possible to discover another manuscript in the last seventy years, that main
via surya_layout
24 could accord access to the complete text. main
via surya_layout
25 In 1980 I suggested to my student Sri Anil Bihari Beohar to take up a critical main
via surya_layout
26 study of Brhaddesi including reconstruction of the text on the basis of citations main
via surya_layout
27 or references available in various texts from Abhinava-Bhāratī of Abhinavagupta main
via surya_layout
28 to Rāga-Vibodha of Somanātha. He took up this subject for his doctoral research main
via surya_layout
29 and started collecting and collating citations and references. As his supervisor, main
via surya_layout
30 I continued to struggle and grapple with the problems of reconstruction of the main
via surya_layout
31 text on the basis of the material collected by him, in collation with the main
via surya_layout
32 Trivandrum edition. Sri Beohar was awarded the Ph.D. degree in 1986. Almost main
via surya_layout
33 immediately after this Dr. Kapila Vatsyayan, Member Secretary of the Indira main
via surya_layout
34 Gandhi National Centre for the Arts, New Delhi, conceived the publication of main
via surya_layout
35 a series of Kalāmūlaśāstra (Fundamental Texts on the Arts). It was decided that main
via surya_layout
36 so far as Sangītasāstra was concerned, Dattilam and Brhaddesī should be in the main
via surya_layout
37 first priority. annotation_inline
parent ligne 36
via heuristic_height
38 *We have recorded the reading of these two MSS on the testimony of the editor of the footnote
via surya_layout
39 Trivandrum edition referring to them as MS A and MS B for ka and kha respectively. footnote
via surya_layout

vol_I_p051 RIGHT — 43 lignes

page vol_I_p051 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 85 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Aśvākrāntā (6) main
via surya_layout
4 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa main
via surya_layout
5 Abhirudgatā (7) annotation_inline
parent ligne 4
via heuristic_height
6 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri main
via surya_layout
7 Thus end (the mūrchanās with twelve svaras) in şadjagrāma. main
via surya_layout
8 (Anu. 63) annotation_inline
parent ligne 7
via heuristic_height
9 In madhyamagrāma also, it is the same; the mūrchanās beginning with ma-pa- main
via surya_layout
10 dha-ni-sa-ri-ga begin with ni-sa-ri-ga-ma-pa-dha (when they are formed with 12 main
via surya_layout
11 svaras). During the performance of raga, murchanas should be known to be main
via surya_layout
12 composed of twelve svaras. They should be known to be included in the main
via surya_layout
13 mūrchanās of şadjagrāma (?).64 main
via surya_layout
14 That is thus - annotation_inline
parent ligne 13
via heuristic_height
15 Sauvīrī (1) annotation_inline
parent ligne 13
via heuristic_height
16 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma. main
via surya_layout
17 Hariņāśvā (2) annotation_inline
parent ligne 16
via heuristic_short
18 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa. main
via surya_layout
19 Kalopanatā (3) annotation_inline
parent ligne 18
via heuristic_short
20 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha. main
via surya_layout
21 Suddhamadhyā (4) annotation_inline
parent ligne 20
via heuristic_height
22 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni. main
via surya_layout
23 Mārgī (5) annotation_inline
parent ligne 22
via heuristic_height
24 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa. main
via surya_layout
25 Pauravi (6) annotation_inline
parent ligne 24
via heuristic_height
26 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri. main
via surya_layout
27 Hṛṣyakā (7) annotation_inline
parent ligne 26
via heuristic_short
28 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga. main
via surya_layout
29 Thus end (the mūrchanās with twelve svaras) in madhyamagrāma. main
via surya_layout
30 [Thus ends the section on grāma-mūrchanā] editorial_bracket
parent ligne 29
via heuristic_brackets
31 VI [Section on Varņas and Alankāras] section_header
via surya_layout
32 [The Varnas] section_header
via surya_layout
33 After this (now) are demonstrated the varnas 1 (patterns of melodic main
via surya_layout
34 movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), main
via surya_layout
35 (118) annotation_inline
parent ligne 34
via heuristic_height
36 ārohin (ascending) and avarohin (descending). main
via surya_layout
37 (Anu. 64) annotation_inline
parent ligne 36
via heuristic_height
38 (Contention) what is spoken of by the word varna? (Answer) The act of main
via surya_layout
39 singing<sup>2</sup> is spoken of by the word varņa. Where svaras are equal<sup>3</sup> and stay main
via surya_layout
40 unimpeded4, the gita5 (melodic rendering) born out of them, that is the main
via surya_layout
41 manifestor of varņa (unit of melodic movement) in a given pada6 (textual main
via surya_layout
42 unit), that varņa is called sthāyin (steady). Just as sāsāsāsā in the ṣāḍjī (jātī) and main
via surya_layout
43 māmāmāmā in the madhyamā (jāti). main
via surya_layout

vol_II_p075 LEFT — 29 lignes

page vol_II_p075 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 132 page_number
via heuristic_pagenum
3 अहं ते कथियध्यामि सर्वं तत्त्वेन लक्षणम् । main
via surya_layout
4 पूर्वं ग्रामह्रयं प्रोक्तं ग्रामरागास्तदुद्भवाः ॥९॥ main
via surya_layout
5 ग्रामरागोद्भवा भाषा भाषाभ्यश्च विभाषिका:। main
via surya_layout
6 विभाषाभ्यश्च सञ्जातास्तथा चान्तरभाषिका: ॥१०॥ main
via surya_layout
7 [ग्रामरागेषु भाषाणां सङ्ख्या, उद्देशश्च] section_header
via surya_layout
8 टक्करागे दश हे च केचिदिच्छन्ति षोडश। main
via surya_layout
9 तत ऊर्ध्वं निगद्यन्ते चाष्टौ मालवकैशिके ॥११॥ main
via surya_layout
10 ककुभे सप्त ये प्रोक्ताः पञ्च हिन्दोलके स्मृताः । main
via surya_layout
11 ० (भै?भे) annotation_inline
parent ligne 10
via heuristic_height
12 पञ्चमे दश विख्याता भित्रषड्जे नव स्मृता: ॥१२॥ main
via surya_layout
13 सौवीरके चतस्रस्तु चतस्रो भिन्नपञ्चमे । main
via surya_layout
14 बोट्टरागे तथाऽप्येका तथा मालवपञ्चमे ॥१३॥ main
via surya_layout
15 टक्ककैशिकजास्तिस्रो द्वे च वेसरषाडवे। main
via surya_layout
16 भिन्नताने तथा ह्येका चैका गान्धारपञ्चमे ॥१४॥ main
via surya_layout
17 पञ्चमषाडवे ह्येका इत्येतास्तु समासत:। main
via surya_layout
18 ॰(मा?म) annotation_inline
parent ligne 17
via heuristic_markers
19 भाषा विभाषा: कथितास्त्र्यधिका सप्ततिर्बुधै: ॥१५॥ main
via surya_layout
20 भाषाणां चैव नामानि लक्षणं च निबोधत। main
via surya_layout
21 प्रथमा त्रवणा ज्ञेया द्वितीया त्रवणोद्भवा॥१६॥ main
via surya_layout
22 वेरिञ्जका तृतीया तु छेवाटी च चतुर्थिका। main
via surya_layout
23 मालवेसरिका तत्र प्रयोक्तव्या तु पञ्चमी ॥१७॥ main
via surya_layout
24 षष्ठी च गूर्जरी ज्ञेया सौराष्ट्री सप्तमी तथा। main
via surya_layout
25 अष्टमी सैन्धवी चैव वेसरी नवमी तथा ॥१८॥ main
via surya_layout
26 पञ्चमाख्या तु दशमी रविचन्द्रा तथा भवेत्। main
via surya_layout
27 <sup>र</sup>अम्बाहेरी तु ललिता स्मृता कोलाहली तत: ॥१९॥ main
via surya_layout
28 <b>न्ही</b>? page_footer
via surya_layout
29 (vide) annotation_inline
parent ligne 27
via heuristic_height

vol_II_p018 RIGHT — 26 lignes

page vol_II_p018 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 19 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven main
via surya_layout
4 varieties. The said regulation (number 47) is according to the varieties of main
via surya_layout
5 amśa svara (in fourteen jātis)." annotation_inline
parent ligne 4
via heuristic_height
6 (NŚ XXVIII, p. 49) annotation_inline
parent ligne 4
via heuristic_height
7 [6. The definition of auduva] section_header
via surya_layout
8 ----- annotation_inline
parent ligne 7
via heuristic_height
9 "(A structure of) five svaras should be known as audavita, it is tenfold<sup>32</sup> main
via surya_layout
10 according to those knowledgeable in prayoga (performance). It is prescribed main
via surya_layout
11 to have thirty varieties and its definition is as has been said before." main
via surya_layout
12 (NŚ XXVIII.76) annotation_inline
parent ligne 11
via heuristic_height
13 [Anu. 127] editorial_bracket
parent ligne 11
via heuristic_brackets
14 (The structure) beginning with the group of four svaras is deśi,33 not main
via surya_layout
15 mārga. That is used in (the music of people known as) 34 śabara, pulinda, main
via surya_layout
16 kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. main
via surya_layout
17 On account of lack of regulation (aniyama)35 śruti (?) alone should be main
via surya_layout
18 understood here. When there is the usage of four svaras, then it is said to be main
via surya_layout
19 svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall main
via surya_layout
20 explain this within the treatment of dhruvā. Similarly has said Bharata - main
via surya_layout
21 "There is the use of six svaras and similarly of five svaras. Here (in drama) main
via surya_layout
22 there is also the use of four svaras in the avakṛṣṭā dhruvās."37 main
via surya_layout
23 (NŚ XXVIII.77) annotation_inline
parent ligne 22
via heuristic_height
24 By the word 'api' (in the above verse) meaning 'also', the complete main
via surya_layout
25 (structure) should also be understood. Thus should be known the fourfold main
via surya_layout
26 usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic). main
via surya_layout

vol_II_p077 RIGHT — 34 lignes

page vol_II_p077 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 137 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Sauvīrī should be known as the first one, vega-madhyamā the second, main
via surya_layout
4 sādhāritā is the third one and gāndhārī the fourth. Thus should be known the main
via surya_layout
5 four <i>bhāṣās</i> born of <i>sauvīraka</i>. main
via surya_layout
6 <math>(30c-31)</math> main
via surya_layout
7 Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said main
via surya_layout
8 to be born of <i>bhinnapañcama</i>. main
via surya_layout
9 (32) annotation_inline
parent ligne 8
via heuristic_short
10 The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born main
via surya_layout
11 bhāvinī, the one that is beautiful for the people. main
via surya_layout
12 (33) annotation_inline
parent ligne 11
via heuristic_short
13 Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, main
via surya_layout
14 and drāvidī is the third bhāṣā there that is described with characteristics main
via surya_layout
15 (lakṣaṇas). annotation_inline
parent ligne 14
via heuristic_short
16 (34) main
via surya_layout
17 The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. main
via surya_layout
18 Tānodbhavā should be known as being assigned to bhinnatāna. main
via surya_layout
19 (35) annotation_inline
parent ligne 18
via heuristic_height
20 In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. main
via surya_layout
21 Gāndhārī is with profuse gāndhāra and is delightful to the people in main
via surya_layout
22 pañcama (gāndhārapañcama). In revagupta<sup>13</sup> (?) śakākhyā is the one main
via surya_layout
23 spoken of in <i>pañcamaṣāḍav</i>a. main
via surya_layout
24 (36) annotation_inline
parent ligne 23
via heuristic_short
25 Thus are obvious the bhāṣās that are born in manifold ways. Now listen main
via surya_layout
26 to their description alongwith illustration for each one. main
via surya_layout
27 (37) main
via surya_layout
28 [The description of bhāṣās] section_header
via surya_layout
29 [1. Bhāṣās in ṭakka-rāga] section_header
via surya_layout
30 It has madhyama as its amśa, şadja as its concluding note, is devoid of main
via surya_layout
31 pañcama and there is to be seen here again and again the mutual main
via surya_layout
32 movement<sup>14</sup> of dhaivata-niṣāda and similarly ṣadja - dhaivata. This should main
via surya_layout
33 be known as hexatonic. Travaņā should bear the name mūlā. main
via surya_layout
34 (38-39) annotation_inline
parent ligne 33
via heuristic_height
171 lignes a valider — change uniquement les roles incorrects.