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 20890). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
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2 185 page_number
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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
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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
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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
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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
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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
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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
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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
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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
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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_p086 RIGHT — 38 lignes

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1 TRANSLATION page_header
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2 155 page_number
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3 These are the bhāṣās spoken of by Yaṣṭika in mālavakaiśika. main
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4 (71) main
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5 [3. Bhāṣās in kakubha] section_header
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6 Combined with dhaivata as the initial and concluding note, kāmbojā is main
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7 complete in svaras, (and) there is the concert of sadja-dhaivata and similarly main
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8 pañcama-ṛṣabha. This bhāṣā bears the name of deśa (region) 28 and is the first main
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9 one born of kakubha. annotation_inline
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10 (72) main
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11 Illustraion - Dhāsāgāgā. Māgārīsāsāsanisāsā. Dhāpāpā. Dhāmāsārigā. main
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12 Māgārīsāsā. Sanidhādhā pāpāmadhā nirisanidhādhā. Kāmbojā [i] editorial_bracket
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13 Having madhyama as amśa and dhaivata as the concluding note, main
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14 madhyamagrāmikā is complete and this bhāṣā is sankīrṇā (mixed), a beautiful main
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15 one born of kakubha. Rṣabha and dhaivata are seen to be together in mutual main
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16 concert. annotation_inline
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17 (73) annotation_inline
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18 ٨. annotation_inline
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19 Illustration - Māmā. Garidhāsārīsāmā. Nigarisanisānidhā. Sādhāsādhanirisā. main
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20 Dhaniriri. Māpāpamāgā. Riririri. Gāma. Gāma. Dhādhāmāpāmāgārīsāsādhā main
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21 dhadhadha. Madhyamagrāmikā [ii] editorial_bracket
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22 <math>S\bar{a}tav\bar{a}hin\bar{i}^{29}</math> should be known to have <math>r\bar{s}abha</math> as <math>am\bar{s}a</ma main
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23 concluding note. Madhyama and ṛṣabha are seen to be in mutual concert. main
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24 Some people desire the seventh (niṣāda) to be profuse and others (desire) main
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25 the same to be weak. annotation_inline
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26 (74) main
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27 Illustration - [Riri]gadharirimā. Māmānimādhādhadhādhāpamapama editorial_bracket
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28 marimamāsari. Māmapapāmapapāpāpāpamarimarimāmāsari. Pāpapasasāni. main
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29 Dhādhāri. Sāsāsāsīrīmanidhādhādhā padhāsādhapādhā pamapāpāmarimāmāsīri main
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30 māpāpāmāsānidhādhā. Sātavāhinī [iii] editorial_bracket
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31 Having madhyama as amśa, niṣāda as the concluding note, being weak in main
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32 ṛṣabha, this bhāṣā, bhogavardhanī should be known to be hexatonic in main
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33 kakubha, where there is concert between the two svaras comprised of two main
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34 śrutis<sup>30</sup> each and pañcama. main
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35 <b>(75)</b> annotation_inline
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36 Illustration - [Mamā] Ninī. Gagamā. Pāmāpamā. Dhādhā. Sanisani. editorial_bracket
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37 Dhapa dhādhapamāpāma. Gagagaga. Mapadhādhāni. Sasasasa. main
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38 Māgasānidhādhādhā [nī.] Bhogavardhanī [iv] editorial_bracket
parent ligne 37
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vol_II_p134 RIGHT — 41 lignes

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1 251 page_number
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2 PĂŢHAVIMARŚA page_header
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3 88. ८ि. जात्यंशगतानि यानि दशकरूपाणि ताञ्चशणान्युकानि तत्सङ्कीर्णतया यन् मिश्रम् । गेयं ग्रामरागादिलक्षणम् । तद्यदि main
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4 कस्योपि जात्यंशकस्य सम्बन्ध्यंशोऽन्यस्य न्यासोऽन्यदीयोऽपन्यास इत्यादि बहुतरवैचित्र्यम् । तदेवम्भूतं यन्मिश्रगेयं तदस्या main
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5 जातेरर्थितमिति यत्रियम्यते मतङ्गनन्दिकश्यपयाष्टिकादिभिस्तद्धिकेन रूपबाहुल्येन । तथा(विहि)तं पानकमिदमिति न तु main
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6 क्रममिश्रितम्। annotation_inline
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7 Abhi Bhā on NŚ XXVIII. 141, p. 63. main
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8 89. cf. इति त्रिपष्टिरंशा: स्युस्तेपामेकैकशोंऽशता । main
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9 C.r. in Sudhā on SR I. 7.59-63. main
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10 Verses 251-256 of our text tally with Datti 90b-95. main
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11 90. P.t. adds here a confused reading after 'madhye' - list_item
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12 ये अनंशास्तेषामनंशानां list_item
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13 91. The order of ṛṣabha-dhaivata has been changed by us to dhaivata- list_item
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14 rṣabha in order to correct the respective order of kaiśikī and pañcamī. list_item
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15 92. C.r. in Sudhā on SR I.7.24-28, p.180. list_item
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16 P.t. reads the following after kriyamaņe in the first line of Anu. 139, which main
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17 is redundant- annotation_inline
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18 सप्तधिकश्चैवं चत्वारिशच्च पाडवे अस्यार्थविधौ क्रियमाणे । main
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19 93. C. r. in Sudhā on SR 1.7.24-28, p.180, reads - list_item
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20 सप्तचत्वारिंशदंशा भवन्ति । कथम् ? चतसृणां etc. list_item
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21 94. C. r. in ibid. list_item
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22 95.cf. c.r. in ibid - list_item
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23 पड्जमध्यमा पाड्जी पड्जोदोच्यवा कैशिकी रक्तगान्धारीत्यासां सप्तांशा अपवादभूता: पातनीया: । main
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24 P.t. adds the following portion after verse 257, which is out of place and has, main
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25 therefore, been omitted by us- main
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26 सगमपर्धः स्मृता +++++++ । main
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27 नन्दयन्ती भवेत् पागा गान्धारोदीच्यवासमा ॥ main
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28 96. C.r. in Sudhā on SR I. 7.24-28, p.180. list_item
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29 97. Reading in NS Chau. XXVIII. 93. list_item
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30 98. Reading in NS XXVIII. 58. list_item
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31 99. Ibid. list_item
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32 100. Reading in NS Chau. XXVIII.63. list_item
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33 101. P.t. reads - 'tadvaddhaivatahīnatā'. Reconstruction based on NŠ list_item
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34 XXVIII. 59. list_item
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35 102. Reading in NS Chau. XXVIII. 63. list_item
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36 103. Reading in NS XXVIII. 59 and NS Chau. XXVIII. 64. Recon- list_item
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37 struction of 'pañcamaḥ'as 'pañcamam 'based on NŚ Chau. XXVIII. 64. list_item
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38 104, 105.Reading in NS XXVIII. 60. list_item
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39 106, 107. Reading in NS Chau. XXVIII .64. list_item
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40 108. Reading in NŚ XXVIII. 61. list_item
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41 109. Added on the basis of NS XXVIII. 61. list_item
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vol_II_p104 LEFT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
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2 後継続(国際)できます。 annotation_inline
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via heuristic_height
3 190 page_number
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4 BRHADDEŠĪ page_header
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5 [३. अथ मालवपञ्चमे] section_header
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6 विभाविनी तु १४पौराली वेगवन्ती तु पञ्चमी । main
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7 पो पा पा annotation_inline
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8 आन्ध्री गान्धारिका चैव षट् स्युर्मालवपञ्चमे ॥ १४॥ main
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9 37 page_number
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10 पञ्चमाद्यन्तसम्पूर्णा स्याद् देशजा विभाविनी । main
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11 + देशं भा (?) annotation_inline
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12 गीयते केशरचनाकामिनीमितसङ्गमे १५॥ १५॥ main
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13 ॰िमति॰(?) annotation_inline
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14 <sup>१६</sup>[उदाहरणम्] – पनिनिमागारि सानिरिनिसारिगामापापामागारिसानिनिधानीनीधामापापा । editorial_bracket
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15 υo annotation_inline
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16 विभाविनी।[१] editorial_bracket
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17 ..पौराली । [२] editorial_bracket
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18 पञ्चमांशा तु सम्पूर्णा [ज्ञेया वेगवती शुभा] । editorial_bracket
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19 विभाषा १७करुणे दैन्यभूयिष्ठे चैव गीयते १८ ॥ १६॥ main
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20 + भाषाकरणे annotation_inline
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21 चैवमुद्धारे annotation_inline
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22 उदाहरणम् - पापानिधाधानि धागासासासानि धाधानिनिपा धामा । गागाधामा मापापाधा main
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23 नीसासारीगारी । सनिधापापा । वेगवती । [३] editorial_bracket
parent ligne 22
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24 पञ्चमांशान्तसम्पूर्णा मूलभाषा तु पञ्चमी । main
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25 पञ्चमार्ध तु annotation_inline
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26 प्रगल्भमनसे गीते चैषा मालवपञ्चमे ॥ १७॥ main
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27 उदाहरणम् – पापापामासा रिरिगानिनिधाधा धाधारिनिगारिमागरिनीधा पापापाधा पामामापा माधानिरिमा main
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28 गामागारी सासानिसानि धापापा । पञ्चमी । [४] editorial_bracket
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29 ॰मा annotation_inline
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30 मध्यमांशा पञ्चमान्ता भाषा स्यादान्ध्रदेशजा । main
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31 भावनास्था घ्रुवेशजा annotation_inline
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32 आन्ध्री तु विश्रुता लोके <sup>१९</sup>व्याधिदुष्टेषु गीयते ॥ १८॥ main
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33 370 page_number
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34 व्याधाः (?) annotation_inline
parent ligne 32
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vol_II_p043 RIGHT — 51 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 69 page_number
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3 rī rī gā sama mā mā pā pā table
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4 (8) table
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5 mā pā mā pariga gā gā gā gā table
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6 (9) table
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7 dhā nī pā mā dhā nī sā sā table
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8 (10) table
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9 nī nī nī nī ņī nī nī nī table
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10 (11) table
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11 mā mā dhā nī nī dhā pā pā table
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12 (12) table
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13 mā pā mā pariga gā gā gā gā table
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14 (13) table
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15 nī nī pā dhani gā gā gā gā table
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16 (14) table
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17 sā rī gā sā nī nī nī nī table
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18 (15) table
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19 nī nī dhā dhā pā pā pā pā table
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20 (16) table
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21 Thus ends Kārmāravī. section_header
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22 [7.Gāndhārapañcami] section_header
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23 Pañcama is the amsa in gandharapañcami. The wise should produce main
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24 concert (among svaras) here also as in gāndhārī and pancamī. main
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25 (19) annotation_inline
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26 Caccatpuța ( is the tāla), there are sixteen kalās here. The mūrchanā main
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27 beginning with gandhara obtains. Application is (prescribed) in the singing main
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28 of dhruvās pertaining to the fourth act. main
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29 (20) annotation_inline
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30 Gāndhārais the nyāsain this (jāti). Ŗṣabhaand pañcamaare apanyāsas. The main
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31 prastāra is thus - main
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32 mā mā pama dhanī dhapa mā dhā nī table
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33 (1) table
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34 sani dhā pā pā pā pā pā table
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35 (2) table
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36 dhā nī sā sā mā mā pā pā table
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37 (3) table
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38 ការី ការី ការី ការី ការី ការី ការី ការី table
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39 (4) table
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40 nī nī dhapa mā nidha nidha pā pā table
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41 (5) table
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42 pā pā rī rī rī rī pā pā table
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43 (6) table
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44 mā riga sā sadha nī nī nī nī table
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45 (7) table
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46 nī rī sā risa rī rī rī rī table
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47 (8) table
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48 ni gā sā niga sā nī nī nī table
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49 (9) table
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50 nī mā nī mā pā pā gā gā table
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51 (10) table
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197 lignes a valider — change uniquement les roles incorrects.