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 20880). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p049 RIGHT — 29 lignes

page vol_II_p049 RIGHT
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1 81 page_number
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2 TRANSLATION page_header
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3 [The opinion of Bharata] section_header
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4 "The first one should be known as māgadhī and the second one as main
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5 ardhamāgadhī, sambhāvitā is the third one and the fourth is known as pṛthulā." main
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6 (NŚ Chau. XXIX. 77) main
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7 [Thus ends the opinion of Bharata] section_header
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8 [The opinion of Yāṣṭika] section_header
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9 Bhāṣā and vibhāṣā and similarly antarabhāṣā are the three gītis spoken of by main
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10 the noble Yāstika. annotation_inline
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11 (272) main
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12 Thus ends the opinion of Yāṣṭika. section_header
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13 [ The opinion of Kasyapa and Śārdūla] section_header
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14 Bhāṣāgīti and vibhāṣā have been spoken of even by Kaśyapa. Similarly, main
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15 bhāṣāgīti alone is accepted in the opinion of Śārdūla. main
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16 (273) main
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17 [ The description of gītis] section_header
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18 Now I shall speak of the proper definition of giti. main
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19 (274) main
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20 [1. Šuddhā gīti] section_header
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21 The cokṣa (suddhā) gīti is spoken of as being complete (pūrṇa) with mandra main
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22 (low), amandra (not low, medium), tāra (high)straight, attractive, equal main
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23 svaras and śrutis. annotation_inline
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24 (275) main
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25 [2. Bhinnāgīti] section_header
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26 Bhinnā gīti is said to be with sūkṣma<sup>14</sup> (short in time), mobile, curved, main
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27 ullāsita (made to shine upwards), prasārita (spread out), attractive, high and main
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28 low (svaras). annotation_inline
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29 (276) main
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vol_II_p017 LEFT — 42 lignes

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1 A TOPE STORY OF THE STORY unknown
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2 BRHADDEŚĪ page_header
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3 16 page_number
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4 बोद्धव्या पञ्चस्वरं यावत् तारावधिः। यथा गान्धार्यां निध निस इति । main
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5 वाशब्दात् annotation_inline
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6 तारिवधिं main
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7 बोड्ज: annotation_inline
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8 सा annotation_inline
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9 सप्तस्वरस्यापि तारता भवति । त्रिधा तारगति: । तथा चाह भरत: - main
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10 चतुर्धा (... गी?ग) annotation_inline
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11 ‘‘अंशात्तारगतिं विद्यादाचतुर्थस्वरादिह । main
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12 न्दिभि: unknown
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13 (गीतं? गतिं) main
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14 વ્ય main
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15 (vide) unknown
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16 आपञ्चमात् सप्तमाद्वा नातः परिमहेष्यते ॥'' main
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17 [ना॰ शा॰ २८.७०] editorial_bracket
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18 [४. मन्द्रलक्षणम्] section_header
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19 [अनु॰ १२५] editorial_bracket
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20 इदानीं मन्द्र उच्यते - main
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21 (ন?র) annotation_inline
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22 मृदुस्वरो मन्द्रः। सा च मन्द्रगतिस्त्रिधांऽशपरा, न्यासपरा, अपन्यासपरा चेति । main
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23 .धा(आं?अं) annotation_inline
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24 (तप? तत्प)रा main
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25 म(न्द:?न्द्र:) annotation_inline
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26 अंशस्वर: परो यस्मादिति बहुव्रीहौ। तस्मात् पूर्वो य: स्वर: स मन्द्र:। यथा-धैवत्यां धाधा main
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27 श्स्वरस्य (य:स्या? यस्मा)दिति unknown
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28 घा annotation_inline
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29 निध पध मा। मा मा। एवमत्रापन्यासस्वर इति, न्यासस्वरोऽप्येवमेव । main
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30 ज्यांकि <sub>ह</sub>ु main
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31 म annotation_inline
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32 [५. षाडवलक्षणम्] section_header
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33 [अनु॰ १२६] editorial_bracket
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34 इदानीं षाडवमुच्यते - main
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35 षट्स्वरं षाडवमिति चतुर्दशजातिविषयत्वाच्चतुर्दशविधम्, चतसृणां main
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36 जातीनां annotation_inline
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37 <b>॰वि(धि॰? ঘ):।</b> annotation_inline
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38 ॰ रा४९ annotation_inline
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39 नित्यसम्पूर्णत्वेन तदभावाज्जात्यंशभेदेन तु सप्तचत्वारिंशत्प्रकारं च तद् भवति । तथा main
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40 चाह annotation_inline
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41 ५०लचे(न) main
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42 भरत: - main
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vol_II_p110 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 203 page_number
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2 TRANSLATION page_header
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3 [2. Māngālī] section_header
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4 Having gāndhāra as graha and nyāsa, şadja as amśa, devoid of tāra, sa (şadja) main
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5 being mandra (low), it is always devoid of pa-ri (pañcama-ṛṣabha). main
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6 (354) annotation_inline
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7 Having şadja as amsa, dha (dhaivata) as graha (and) nyāsa, having dha main
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8 (dhaivata) as low (mandra), leaning towards high (tāra), formed with even main
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9 svaras and being complete, <math>m\bar{a}ng\bar{a}\bar{u}^{12}</math> is sung by the people. main
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10 (355) annotation_inline
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11 [3. Bhammānikā] section_header
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12 Bhammānikā 13 should be known by the wise to have pañcama as amsa, graha main
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13 and nyāsa, low ga (gāndhāra) (and) high şadja, being devoid of ri (ṛṣabha) and main
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14 with sparse dha-ga (dhaivata- gāndhāra). main
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15 (356) annotation_inline
parent ligne 14
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16 [4. Pulindikā] section_header
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17 Pulindikā14 has dhaivata as nyāsa, is devoid of ga-pa (gāndhāra-pañcama) main
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18 (and) there is concert between sadja-dhaivata and similarly between dhaivata- main
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19 rşabha. annotation_inline
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20 (357) main
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21 [5. Gāndhārasindhu] section_header
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22 Gāndhārasindhu<sup>15</sup> ..... table
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23 (358) main
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24 [6. Kārņāţī] section_header
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25 Having sadja as nyāsa and graha, dha (dhaivata) as amsa, high ga main
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26 (gāndhāra) and low madhyama, with even svaras and complete, is (the bhāṣā) main
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27 karnāļi<sup>16</sup> by name. main
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28 (359) main
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29 ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, annotation_inline
parent ligne 28
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30 Thus ends the fifth chapter entitled desi-rāgādhyāya in main
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31 Bṛhaddesī composed by Matanga Muni. main
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vol_I_p072 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 127 page_number
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2 <b>TRANSLATION</b> page_header
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3 mā mā sā sā annotation_inline
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4 de - vam - annotation_inline
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5 mā sā sā mā annotation_inline
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6 de vam sa rvam annotation_inline
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7 sasa masa mama nn annotation_inline
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8 devam sarvam vande annotation_inline
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9 (Anu. 112) annotation_inline
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10 Māgadhī is (known as such) because of its origin in the magadha deśa (south main
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11 Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated'). main
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12 Ardhamāgadhi is (called so) because of there being the state of half 'pada',56 main
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13 thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to main
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14 'pada'. In the repetition of half a pada the verbal meaning should not be main
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15 construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or main
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16 acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is main
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17 predominantly musical, the verbal meaning is not cared for in the repetitions. It main
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18 has been said - the word jātavedasam (fire) that is repetitive, here (in the main
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19 context of this word), sambhāvitā (gītī) ends at the word veda, 57 the pṛthulā gītī, main
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20 on the other hand, is based on the predominance of laghu (short syllables); main
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21 on account of the profusion of the grouping (grāma) of padas (syllabic units) it main
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22 is called pṛthulā (lit. broad or large). main
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23 (Anu. 113) annotation_inline
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24 In the three margas in the prescription about gitis, the use of laya should be main
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25 seen to be ninefold. annotation_inline
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26 He (the author) shows the use of laya as - daksina marga, vartika marga and main
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27 citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina main
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28 mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas main
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29 in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus main
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30 are the three layas in the operation of citra-marga. Thus has been propounded main
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31 in the chapter on gitis. As - in the daksina marga there are four gurus (long main
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32 units) two gurus and one guru. In vārtika mārga there are two gurus, one guru main
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33 and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half main
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34 - mātrā unit). annotation_inline
parent ligne 33
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vol_II_p018 RIGHT — 26 lignes

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