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 21017). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p038 LEFT — 30 lignes

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1 BRHADDESI page_header
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2 58 page_number
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3 अनु. ३९ main
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4 एवं तावदुभयग्रामिक्यश्चतुर्दश मूर्छनाः सम्पूर्णाः कथिताः। इदानीं main
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5 तासां नामानि कथ्यन्ते— main
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6 षड्जे चोत्तरमन्द्रा स्यान्निषादे रजनी स्मृता। main
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7 •वा annotation_inline
parent ligne 6
via heuristic_height
8 धैवते चोत्तरा ज्ञेया शुद्धषड्जा च पञ्चमे।। ९३।। main
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9 मध्यमे मत्सरी ज्ञेया गान्धारे चाश्वक्रान्तिका। main
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10 ऋषभेण च विज्ञेया सप्तमी चाभिरुद्रता॥९४॥ main
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11 षड्जग्रामाश्रितास्त्वेवं विज्ञेयाः सप्त मूर्छनाः। main
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12 अतः परं प्रवक्ष्यामि मध्यमग्राममूर्छनाः ॥९५॥ main
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13 मध्यमेन च सौवीरी गान्धारे हरिणायिका । main
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14 ह्या annotation_inline
parent ligne 13
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15 स्यात् कलोपनता चैव ऋषभेणैव मूर्छना।।९६।। main
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16 शुद्धमध्या [ तु ] षड्जे स्यान्निषादे चैव मार्गिका। editorial_bracket
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17 पौरवी धैवते ज्ञेया हृष्यका पञ्चमे तथा।।९७।। main
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18 इति तावन्मया प्रोक्ता मध्यमग्राममूर्छनाः। main
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19 इदानी सम्प्रवक्ष्यामि षाडवौडुवमूर्छनाः ॥९८॥ main
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20 षट्स्वरा षाडवा ज्ञेया औडुवा पञ्चिभः स्वरैः। main
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21 षाडवौडुवितानां च व्युत्पत्तिश्च निगद्यते।।९९।। main
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22 अनु. ४० annotation_inline
parent ligne 21
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23 षट्स्वरा अवन्ति रक्षन्ति ये ते षाडवस्वराः। तेषां प्रयोगः षाडवः। main
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24 तारकादितच् प्रत्ययः। main
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25 [ अनु. ४१ ] editorial_bracket
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26 उडवो नक्षत्राणि गच्छन्ति यस्मिन्नाकाशे तदाकाशमौडुवम्। तेन पञ्च main
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27 संख्या लक्ष्यते, पञ्चमं हि महाभूतं, तत्स्था संख्या च विद्यते main
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28 यस्य तदौडुवितम्। annotation_inline
parent ligne 27
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29 षाडवं षट्स्वरं ज्ञेयं लक्षणं सप्तधा मतम्। main
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30 एकोनपञ्चाशत् संख्यं तज्ज्ञेयं गीतवेदिभिः॥१००॥ main
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vol_II_p129 LEFT — 28 lignes

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1 BRHADDEŚĪ page_header
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2 240 page_number
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3 [४३. वर्णस्वर:] section_header
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4 निबद्धो हस्तपाटैर्य: संयुतस्तेनकै: पुन:५१। main
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5 संयुतैस्तैर्नकै: annotation_inline
parent ligne 4
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6 स्वरै: पदैश्च पाटैश्च तेनकैश्च समन्वित: ॥ main
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7 तेन्त्र॰ annotation_inline
parent ligne 6
via heuristic_markers
8 गीयते तालयुक्तो य: स वर्णस्वरक: स्मृत: ॥ ४८६॥ main
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9 वर्णासरक: annotation_inline
parent ligne 8
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10 [४४. मुक्तावली] section_header
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11 देशिकारपदै रम्यै: सानुप्रासै: प्रगीयते । main
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12 नामानुवर्णनीयस्य सा मुक्तावलिसंज्ञिता ॥ ४८७॥ main
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13 [४५. प्रतापवर्धन:] section_header
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14 उत्साहजननै: पाटै: स्वरैश्चापि सुसंयुत: । main
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15 ॰कै: पार्द: स्वरैध + annotation_inline
parent ligne 14
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16 तेनकैर्बिरुदैर्यत्र वर्णनीयस्य गीयते ॥ main
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17 तेन्तकै॰ annotation_inline
parent ligne 16
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18 प्रतापवर्धनो नाम प्रबन्धः परिकीर्तितः ॥ ४८८॥ main
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19 (तो?नो) annotation_inline
parent ligne 18
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20 अष्टाभिरधिका रम्याश्चत्वारिंशदिति स्फुटम् ॥ ४८९॥ main
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21 [गीतदोषाः] section_header
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22 लोकदुष्टं शास्त्रदुष्टं पुनरुक्तं च वर्जयेत्। main
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23 ॰शास्त्र +++ पञ्च annotation_inline
parent ligne 22
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24 छन्दोदुष्टं[?] तथा ग्राम्यं गतक्रममपार्थकम् ॥ editorial_bracket
parent ligne 22
via heuristic_brackets
25 + गोदुष्टं main
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26 पदं चार्थं तु सन्दिग्धं कलाबाह्यं विभक्तकम् <sup>५२</sup>॥ ४९०॥ main
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27 काप्यमसन्दिग्धं annotation_inline
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28 चाभ्यशि ॰ annotation_inline
parent ligne 26
via heuristic_markers

vol_II_p086 RIGHT — 38 lignes

page vol_II_p086 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 155 page_number
via heuristic_pagenum
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
parent ligne 11
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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
parent ligne 24
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26 (74) main
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27 Illustration - [Riri]gadharirimā. Māmānimādhādhadhādhāpamapama editorial_bracket
parent ligne 26
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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
parent ligne 29
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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_p121 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 225 page_number
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3 The lineage of kṣatriyas is there and the rasa has been said to be raudra. main
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4 Where there are five analoganas <math>^{40}</math> and the sixth is a vāyugana, <math>^{41}</math> lo! that elä main
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5 is known to be <i>hamsāvatī</i>, by the experts in music. main
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6 (430) main
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7 [3. Nandāvatī] section_header
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8 Combined with small gamakas in mālavakaišika rāga, the nandāvatī elā is main
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9 sung in <i>pratitāla</i>. main
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10 (431) annotation_inline
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11 Indrāņī is the devatā (presiding deity), sāttvatī is the vṛtti<sup>42</sup> spoken of here, main
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12 gaudi is the <math>riti^{43}</math> spoken of (and) yellow is the colour accepted by the wise. main
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13 (432) annotation_inline
parent ligne 12
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14 Vīra is the rasa that is said to be, (this clā) is born of the lineage of vaisyas. main
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15 Everything (else) beginning with rāga should be done as in nādāvatī. main
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16 (433) annotation_inline
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17 Where there are five <math>ambara</math>-gaņas, <math>^{44}</math> combined with <math>m\bar{a}rta\eta daga\eta as^{45}< main
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18 should be known as nādāvatī elā by the experts in music. main
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19 (434) main
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20 [4. Bhadrāvatī] section_header
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21 Structured with padas one by one, brimming with mūrchanā 46 sounds, main
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22 combined with kańkāla tāla, it is sung in kakubha (rāga). main
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23 (435) annotation_inline
parent ligne 22
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24 Bhadrāvatī elā is born of the śūdra caste and should be known to be of black main
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25 colour, being bedecked with vaidarbhī rīti.47 main
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26 (436) annotation_inline
parent ligne 25
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27 Combined with bhāratī vṛtti 48 and embellished with bībhatsa rasa, it is said main
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28 to be endowed with vārāhī devatā,49 by those adept in music. main
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29 (437) annotation_inline
parent ligne 28
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30 Where there are five <math>bh\bar{u}mi</math>-gaņas<sup>50</sup> and similarly the sixth is <math>jalagaņa_i^{51}</math> main
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31 that is known by the best among munis to be famous as bhadrāvatī. main
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32 (438) main
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vol_I_p006 RIGHT — 36 lignes

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1 xiii page_header
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2 INTRODUCTION page_header
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3 A word about the translation. It has been my attempt to bring the original to main
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4 the reader with its flavour and nuances; if in this attempt the idiom of the main
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5 English language has been violated, I owe an apology. My only submission main
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6 would be that this is not a transcreation of creative literature, this is a main
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7 presentation of 'scientific' literature in a different language. Hence the criteria main
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8 of judgement should be different from those applied to translation of creative main
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9 literature. annotation_inline
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10 Technical terms have not been translated because that is virtually impossible; main
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11 rough equivalents have generally been given in paranthesis and if an equivalent main
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12 has been found adequate, the original word has been given in paranthesis in main
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13 order to help the reader in indentifying the equivalence. main
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14 The indebtedness to Dr. Anil Bihari Beohar, Lecturer in Musicology, Indira main
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15 KalaSangitaVishwavidyalaya,Khairagarh(M.P.,) has been acknolwedged in the main
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16 title page. Once again, I acknowledge with affection his labour and patience main
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17 with the onerous task undertaken by him. To Dr. Kapila Vatsyayan, I owe a main
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18 deep debt of gratitude for her constant inspiration and encouragement. My main
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19 sincere apologies are due to her for the delay in completing this work, caused main
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20 by both personal and professional reasons. To Dr. Bettina Bäumer, Hony. main
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21 Co-ordinator, Kalākoša office of I.G.N.C.A. in Varanasi, goes my heartfelt main
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22 gratitude for her constant support, both moral and material. My younger sister main
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23 Dr. Urmila Sharma has provided valuable assistance in reading the proofs; I main
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24 express my loving gratitude to her. My affectionate thanks go to Dr. N. main
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25 Ramanathan, Reader, Department of Music, Madras University, my former main
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26 student, for going through the first half of the press-copy (upto the section on main
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27 grāma-mūrchanā) in 1988, while I was at Khairagarh. main
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28 I thank Dr. C.B. Pandey, Editor, and Dr. (Smt.) Advaitavadini Kaul, Asstt. main
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29 Editor, for seeing the book through the Press. main
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30 Prem Lata Sharma. annotation_inline
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31 Vasanta Pañcami annotation_inline
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32 'Āmnāya', Karaundi, annotation_inline
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33 Magha Sukla 5, V.S. 2048 annotation_inline
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34 Varanasi-221 005 annotation_inline
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35 <b>Feburary 8, 1992</b> annotation_inline
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36 The second of the second of the second of the second of the second of the second of the second of the second of the seco annotation_inline
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164 lignes a valider — change uniquement les roles incorrects.