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 20944). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p115 LEFT — 32 lignes

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1 212 page_number
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2 BRHADDESI page_header
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3 [९. दोधक:] editorial_bracket
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4 ररअर्धं गीत्वा परार्धं तु तस्योपरि ततस्वरम् ॥३९१॥ main
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5 परार्थ annotation_inline
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6 अर्थ annotation_inline
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7 ततापरि annotation_inline
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8 ॰स्वरा(?) annotation_inline
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9 [१०. तोटक:] editorial_bracket
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10 <sup>1</sup>/<sub>1</sub>[.....] editorial_bracket
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11 [११. वस्तु] editorial_bracket
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12 यत्र पाटाश्च तेत्राश्च शेषं भवेत् ततस्वरम् । main
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13 ततो परी annotation_inline
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14 . . . . annotation_inline
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15 देशीगीतेऽपि वस्तु स्यात्राटकेऽपि प्रयुज्यते<sup>१३</sup> ॥३९२॥ main
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16 [१२. क्रौञ्चपद:] section_header
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17 गीतस्तु प्रतितालेन पदस्वरसमायुत:। main
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18 ॰(ना?ता)॰ annotation_inline
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19 मतः क्रौञ्चपदो नाम स तु गान्धर्ववेदिनाम् १४॥३९३॥ main
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20 [१३.हंसपद:] section_header
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21 संस्कृतं पादमेकं तु द्वितीयं देशसंयुतम्। main
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22 सप्रासं गीयते यत्तद् गीतं हंसपदं विदुः १५॥३९४॥ main
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23 यम annotation_inline
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24 [१४.शुकसारिक:] section_header
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25 यस्तु तालपदोपेत[:] पदपाटविराजित:। editorial_bracket
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26 प्रश्नोत्तरसमायुक्तः स तूक्तः शुकसारिकः ॥३९५॥ main
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27 ॰यु(के:?क:) सदोक: annotation_inline
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28 न्तः annotation_inline
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29 [य: स्यात्] कर्णाटभाषायामथवा मिश्रितो यदि । editorial_bracket
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30 ٠ page_number
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31 + annotation_inline
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32 संवादकपदोपेत: स भवेच्छुकसारिक: १६॥ ३९६॥ main
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vol_II_p123 LEFT — 31 lignes

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1 BRHADDEŚĨ page_header
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2 228 page_number
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3 [२. कामलेखा] section_header
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4 द्विगुणितरुद्रा प्रथमे, मात्रा युजि सम्भवन्ति ता एव । main
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5 विंशतिश्चासमे चरणे, यस्या: सा कामलेखेति ३६॥४४५॥ main
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6 विंशति विषमे annotation_inline
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7 (?)चरमे annotation_inline
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8 [३. बाणलेखा] section_header
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9 द्विगुणितकला यदि स्युर्मात्रा: पादत्रयेऽप्यविशिष्टा: । main
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10 (電?) annotation_inline
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11 ऽपि+(विशिष्टम्) annotation_inline
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12 [ता]बाणगणोपेता यस्यां सा बाणलेखेति ३७॥ ४४६॥ editorial_bracket
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13 न्त annotation_inline
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14 [४. चन्द्रलेखा] section_header
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15 चत्वारिशत् त्र्यधिका मात्रासंख्याऽङ्घ्रियुग्मेषु main
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16 एकोना सा विषमे यस्यां सा चन्द्रलेखेति ३८॥ ४४७॥ main
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17 ॥ इति मात्रैलाचतुष्टयम् ॥ editorial_bracket
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18 [ग. वर्णेलाप्रकारा:] section_header
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19 नैवात्र तालनियमो रसनियमो रागनियमस्तु । main
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20 भवति[खल्]वर्णनियमो वर्णेला कथ्यते तस्मात् ॥४४८॥ editorial_bracket
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21 ++ annotation_inline
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22 मदनवती शशिलेखा प्रभावती मालती तथा[ललिता] । editorial_bracket
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23 (च)तथा annotation_inline
parent ligne 19
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24 हेमवती ३९कुसुमवती वर्णनिबन्धा भवन्ति सप्तैला:॥४४९॥ main
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25 एकादशादिवर्णै: सप्तदशान्तै: क्रमेण सप्तैता: । main
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26 गीयन्ते गन्धर्वैर्लिलतपदैर्जगित सन्नादै: ॥ ४५०॥ main
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27 [१. मदनवती २. शशिलेखा ३. प्रभावती] editorial_bracket
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28 ४० अलघुगणोपेता [सा] मदनवती लघुगणेन शशिलेखा । editorial_bracket
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29 अलिलतनामोपेता annotation_inline
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30 गुरुगणबहुला [नित्यं]प्रभावती <sup>४१</sup>मालती तथा ललिता ॥ ४५१॥ editorial_bracket
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31 ....भवति रम्यतरा annotation_inline
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vol_I_p023 RIGHT — 27 lignes

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1 29 page_number
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2 TRANSLATION page_header
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3 expound antara - mūrchanā 66 in both the grāmas, or in both the grāmas, şadja main
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4 and madhyama svaras become grāmanīs67 (leader of grāma), the other svaras main
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5 become their agre-sara 68 (movers in front). main
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6 (52) annotation_inline
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7 Thus I have spoken of the śrutis that are seated in grāma.69 main
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8 Here ends the section on srutis. annotation_inline
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9 IV [The Section on Svaras] section_header
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10 [The laksana of svaras] section_header
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11 Now I shall speak of the ascertainment of svaras. In this context, initially, the main
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12 (53) annotation_inline
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13 etymology of the word 'svara' is being spoken about. main
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14 From the root raje, meaning brilliance, to which is prefixed the word sva main
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15 (the word 'svara' is derived); because (the meaning is) that which shines by main
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16 (54) annotation_inline
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17 itself, hence it is known as svara. main
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18 [ Anu. 15 ] editorial_bracket
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19 But what is meant by svara? It is being answered - the dhvani (sound) which main
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20 is the progenitor of raga? (lit. colour, delight) is svara. Similarly, also said main
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21 Kohala. annotation_inline
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22 "By the will of the atman, the vayu (that is) moving upward from the base of main
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23 the 'earth's (nābhi, navel) (and) is held on the 'wall'4 of the nādīs and in the main
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24 space, is known as svara, the delightful<sup>5</sup> sound." main
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25 (Anu. 16) annotation_inline
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26 But svara in this way is one or many, pervasive or non-pervasive or is it main
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27 eternal or non-eternal? annotation_inline
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vol_II_p101 RIGHT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
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_I_p008 RIGHT — 73 lignes

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1 <b>ABBREVIATIONS</b> section_header
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2 Abhinava Bhāratī, Abhinavagupta's commentary on Nāṭya- main
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3 Abhi Bhā annotation_inline
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4 Sāstra G.O.S., Baroda edition main
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5 Anuccheda, comparable to paragraph main
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6 Anu. annotation_inline
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7 Anūpa Sangīta Ratnākara of Bhāva Bhaṭṭa main
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8 Anū Saṃ R annotation_inline
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9 Anūpa Sangīta Vilāsa of Bhāva Bhaţţa main
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10 Anū Saṃ Vi annotation_inline
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11 Aşţādhyāyī of Pāņini main
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12 Aşţā annotation_inline
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13 Bharata Kośa of M.R. Kavi main
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14 Bha Ko annotation_inline
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15 Bṛhaddeśī of Matanga Muni main
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16 BŗD annotation_inline
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17 Brhadāranyaka Upanisad main
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18 Brh Up annotation_inline
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19 Caraka Samhitā main
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20 Car Sam annotation_inline
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21 Cited reading main
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22 C.r. annotation_inline
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23 Dhrupad Annual main
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24 DA annotation_inline
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25 Dattilam main
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26 Datti annotation_inline
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27 Pt. K. Sāmbaśiva Śāstrī, editor of Bṛhaddeśi, published in main
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28 Ed. annotation_inline
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29 Anantasayana Sanskrit Granthāvali No. 94 (Trivandrum main
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30 Sanskrit Series) in 1928 main
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31 Gobhila Smrti annotation_inline
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32 Gobh Smr main
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33 Indian Music Journal main
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34 IMI annotation_inline
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35 Kalānidhi commentary of Kallinātha on Sangīta-Ratnākara main
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36 Kalā annotation_inline
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37 Kausitaki Upanisad main
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38 Kauş Up annotation_inline
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39 Literally main
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40 Lit. annotation_inline
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41 Mārkandeya Purāņa main
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42 Mark Pur annotation_inline
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43 Matsya Purāņa main
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44 Mat Pur annotation_inline
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45 Mahābhārata main
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46 <b>MBh</b> annotation_inline
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47 Mīmāṃsā Sūtra main
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48 Mim Sū annotation_inline
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49 Nāradīya-Šikṣā main
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50 Nā Śi annotation_inline
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51 Nātya Śāstra, G.O.S., Baroda edition, unless otherwise main
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52 NŚ annotation_inline
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53 indicated main
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54 Nātya Śāstra, Chaukhambha, Varanasi edition main
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55 NŚ Chau annotation_inline
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56 Nātya Sāstra, Kāvya-Mālā edition. main
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57 NS Kā Mā annotation_inline
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58 Pāṇini-Śikṣā main
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59 Pā śi annotation_inline
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60 Prem Lata Sharma main
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61 P.L.S. annotation_inline
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62 Printed text of Bṛhaddeśī, Trivandrum edition main
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63 P.t. annotation_inline
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64 Rāga Vibodha of Somanātha main
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65 Rā Vi annotation_inline
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66 Sangīta Cūdāmaņi of Jagadekamalla main
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67 Sam Cū annotation_inline
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68 Sangīta-Samaya-Sāra of Pārśvadeva main
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69 Sam S Sā annotation_inline
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70 Sangita-Ratnākara of Śārngadeva (Adyar edition) main
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71 SR annotation_inline
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72 Sangītarāja of Rāņā Kumbhā Vol. 1 main
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73 S. Raj main
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196 lignes a valider — change uniquement les roles incorrects.