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 21030). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p080 LEFT — 31 lignes

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1 BRHADDEŚĪ page_header
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2 142 page_number
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3 सैन्धवी मध्यमांशा तु षड्जान्ता धैवतोज्वला । main
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4 सै(वमी?न्धवी) annotation_inline
parent ligne 3
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5 सुसम्पूर्णस्वरा होषा षड्जधैवतयोस्तथा ॥४७॥ main
via surya_layout
6 ३१गान्धारमध्यमानां तु गमनं दृश्यते घनम् । unknown
via fallback
7 गमकं annotation_inline
parent ligne 5
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8 गाभारः annotation_inline
parent ligne 5
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9 देशभाषा तु देश्याख्या सैन्धवी टक्करागजा ३२॥४८॥ main
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10 सनीनीनीचाधासरिसा नीधाधाधरिनिधाधा । धानिसा गारीमा । main
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11 उदाहरणम् – मामासासा । main
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12 सासा annotation_inline
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13 मामा गमागामासाधासारीमामामासा रिगामापापाधानिपधापामा गारीरीनिरिनि- धाधाधनीसा main
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14 रीगामामागामामा गामामामासासा । सैन्धवी । [८] editorial_bracket
parent ligne 13
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15 षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । main
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16 धैवतनिषादयोश्च षड्जधैवतयोस्तथा ॥४९॥ main
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17 परस्परं तु गमनं दृश्यते च क्षणे क्षणे । main
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18 भाषेयं षाडवा ज्ञेया वेसरिका प्रयोक्तृभि: ॥५०॥ main
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19 र्श<sup>े देरे</sup> सकाकली annotation_inline
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20 उदाहरणम् - सासा । सधानि । धासासासा मामागामा गामासाधा मागारीसासासा । main
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21 वेसरिका।[९] editorial_bracket
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22 पञ्चमांशा तु षड्जान्ता सम्पूर्णा लोकरञ्जिका । main
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23 प्ञुमर्षभसंवाद: षड्जमध्यमयोस्तथा ॥ main
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24 भाषेयं पञ्चमाख्या तु सम्पूर्णा समुदाहता ॥ ५१॥ main
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25 उदाहरणम् – पापापारिपा । रिपापापापमापापामपमा सासासरीरीरि । निधाधपापा । main
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26 पसामामा annotation_inline
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27 रिरोगगरिसपा पगारिसागारिसारिपापारिरिगरि। गाधामागारिरि धपरिगसासा। पञ्चमाख्या ३४। [१०] editorial_bracket
parent ligne 25
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28 offlo annotation_inline
parent ligne 25
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29 ध्यमन्द्रा तु षड्जान्ता गान्धारांशाल्पसप्तमा । main
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30 ३५ऋषभगान्धारयोस्त् षड्जमध्यमयोस्तथा ॥५२॥ main
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31 +र्षगान्धार॰ annotation_inline
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vol_I_p058 LEFT — 47 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
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2 98 page_number
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3 | अनु₀ <b>९</b>0 | editorial_bracket
parent ligne 4
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4 तारादेकान्तरस्वरावरोहात् त्रिरावृत्त्या कलात्रयकरणात् सर्वेषां 25ह्रादमानः। यथा— main
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5 26सध सध सध, निप निप निप, धम धम धम, पग पग पग, मरि मरि मरि, गस गस main
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6 Ĺ unknown
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7 [ २१ ] editorial_bracket
parent ligne 5
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8 गस 🛭 इति 📗 ह्रादमानः। main
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9 अनु₀ ९१ ] editorial_bracket
parent ligne 8
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10 समनन्तरस्वरमारुह्य द्वे कले स्थित्वा पुनः स्वरोऽन्तरे अर्धकलामारोहति main
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11 (व?) ति annotation_inline
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12 र्द annotation_inline
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13 <b>.</b> annotation_inline
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14 पुनश्चानन्तरमेवार्धकलामवरोहित स रिक्षतः। [ यथा - ] सरी मग, रिगा पम, गमा editorial_bracket
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15 ₀ಪು annotation_inline
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16 धप, मपा निध, पधा सनि [ इति ] रञ्जितः। editorial_bracket
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17 [ २२ ] editorial_bracket
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18 [ अनु₀ ९२ ] editorial_bracket
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19 आरोहावरोहाभ्यामष्टौ स्वरानुच्चार्य प्राकृस्वरोच्चारणान्ते क्रमशोऽष्टकल आवर्तकः। main
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20 र (प २) मु₀ annotation_inline
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21 ०मादौ₀ annotation_inline
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22 अथवा सग गप पनि धस सध निप पग गस [ इति ] आवर्तकः। editorial_bracket
parent ligne 19
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23 [ २३ ] editorial_bracket
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24 धानीपा गासा annotation_inline
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25 सधा annotation_inline
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26 27q q127 main
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27 [ अनु₀ ९३ ] editorial_bracket
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28 [ अनन्तरं त्रिस्वरानारुह्य ] पुनरेकस्वरं चतुर्थं लङ्घयित्वा पञ्चमं स्वरं प्राप्य editorial_bracket
parent ligne 26
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29 पुनरप्य [न] न्तरान् त्रिस्वरानवरोहृन् चतुर्थं । लङ्क्षयन्नाद्यं स्वरं षड्जं गच्छेत्। editorial_bracket
parent ligne 26
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30 <sup>29</sup>चतुर्ल main
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31 आरोहावरोहाभ्यां कलाष्टकेन तथैव तारादारभ्य सर्वस्वराणामारोहावरोहणम्। षोडशकलः main
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32 (लो २ला) व annotation_inline
parent ligne 31
via heuristic_short
33 नवरोई (?) main
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34 परिवर्तकः। स.च लोके ओहाडीत्युच्यते [ यथा -] सरिगप पमगस, रिगमध धपमरि, editorial_bracket
parent ligne 33
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35 (को १ के) main
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36 सा annotation_inline
parent ligne 35
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37 पा annotation_inline
parent ligne 35
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38 गमपनि निधपग, मपधस सनिधम, सनिधम मपधस, निधपग गमपनि, धपमरि main
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39 गा annotation_inline
parent ligne 38
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40 रिगमध, पमगस सरिगम इति परिवर्तकः। main
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41 [ २४ ] editorial_bracket
parent ligne 40
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42 <sup>ं३0</sup><br>अनु<sub>॰</sub> ९४ ] editorial_bracket
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43 स्वरद्वये ह्येककलया आरोहक्रमेण तृतीयस्वरं परिहरन्नारोहक्रमेणैवोपरितनस्थ- main
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44 हि. annotation_inline
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45 0 इ annotation_inline
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46 स्वरद्वयमाक्रामन्ननेनैव क्रमेणावरोहः। शेषानिप स्वराननेनैव क्रमेणारोहन्नष्टादशकल main
via surya_layout
47 .क्रमान, annotation_inline
parent ligne 46
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vol_II_p157 RIGHT — 40 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA annotation_inline
parent ligne 3
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2 297 page_number
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3 35. Lack of regulation i.e. scope for free will in rendering is a main
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4 characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps, main
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5 stand for 'aural appearance'. main
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6 36. See citation in the name of Nărada under Anu. 28 in chapter one list_item
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7 of our text Vol. I. 'Svarāntara' literally means a different svara; its relation list_item
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8 with the number four of svaras could thus be explained. The first three svaras list_item
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9 are repeated as the last three of a heptad. The fourth known as madhyama list_item
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10 comes in-between these two triads. Hence the fourth adds a 'different or list_item
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11 new svara'. This could be the reason for giving the name svarantara to a list_item
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12 group of four svaras. This name is relevant only for the first triad + the list_item
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13 fourth, but its secondary application could be related to any group of four list_item
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14 svaras. list_item
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15 37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157, list_item
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16 158 of the supplement (variant reading) to the said chapter. The description list_item
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17 ' (in terms of upohana or introductory portion and metre) is given below - list_item
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18 "Five dhruvās should be performed in Pūrvaranga (preliminaries of main
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19 drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and main
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20 <i>vikşiptă”</i> (p. 251). annotation_inline
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21 "The upohana in avakṛṣṭā dhruvā should be done in five kalās (time- main
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22 units) with the syllabic units dingle dingle, two units of four short syllables main
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23 each and jhantum in the end. Each foot of the dhruva is composed of sixteen main
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24 syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru main
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25 (long) and the rest being laghu (short)." The illustration is as follows- main
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26 Varadam saganam tripurāntakam vṛṣabhaketum/ main
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27 Gajacarmapaṭamviṣamekṣaṇambhuvananātham/ main
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28 Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/ main
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29 Praṇato'smi bhavantamumāpatim tvasitakantham/ main
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30 38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding main
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31 verse 74 and in verse 75). The context is the same as that in our text, viz. main
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32 alpatva-bahutva. The manipulation of sparseness and abundance of svaras main
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33 in jātis on account of which a non-amsa svara also becomes abundant in a main
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34 special context is antara-mārga. main
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35 The literal meaning of this word is 'search for the inner path'. The root main
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36 'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search main
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37 of the inner is antara-marga. What is this inner? This has to be understood main
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38 in two ways. The first is in relation to the seven jātis named after svaras, which main
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39 assume a two-fold form viz. śuddha and vikṛta. The second is in the context main
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40 of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above main
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vol_I_p076 RIGHT — 43 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 135 page_number
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2 PÄTHA VIMARŠA page_header
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3 100 page_number
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4 80. Bha Ko, p. 755. list_item
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5 81. Suggested by the ed. in the place of 'su'. list_item
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6 82. Bha Ko, p. 755. list_item
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7 83. C.r. in Sam S Sā, p. 10. list_item
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8 84. Bha Ko, p. 756. list_item
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9 85, 86. C.r. in S R I Sudhā, p. 84. list_item
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10 87. C.r. in Sam S Sā, p. 10. list_item
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11 88. Reading suggested by the ed. list_item
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12 89. MS B reading as recorded by the ed. list_item
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13 Section IV (Svara) section_header
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14 1, 2, 3. C.r. in S R I Sudhā, p. 84. list_item
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15 4. Bha Ko, p. 754. list_item
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16 5. C.r. in Sam S Sā, p. 10. list_item
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17 6. Bha Ko, p. 754. list_item
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18 7. Added by the ed. list_item
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19 8. 'Nāda' of the MSS has been replaced with 'pada' because 'nāda' cannot list_item
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20 be said to be the associate of svara, it is only the subtle or undifferentiated form list_item
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21 of svara. The association of pada with svara has been explained in the list_item
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22 annotations. list_item
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23 "l'alamiti' has been modified, as 'tvalamiti' because 'alamiti kṛtau' could be main
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24 construed as standing for alankṛti or alankāra, whereas tālamiti is neither main
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25 grammatically correct, nor does it fit into the context. An alternative reading main
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26 could be 'tālamitaḥ' (cf. Saṃ S Sā, p. 11) meaning that svara is measured with main
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27 tāla, but even then 'kṛtau' would pose a problem. main
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28 9. cf. अत्र मिरगादिप्वाद्याक्षराणा व्यञ्जनत्वात् कथ स्वरत्विमत्याक्षिप्याचार्यपरिभाषया सङ्केतमात्रमेतिर्दित main
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29 पृत्याह मनङ्गः । annotation_inline
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30 (SRI Kalā, p. 82) main
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31 10. The use of first person is notable here. list_item
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32 11. MS B reading as recorded by the ed. list_item
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33 12. C.r. in S R I Kalā, p. 92. list_item
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34 13. Added in accordance with C.r. in ibid. and Sudhā, p. 93. list_item
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35 14. Reading suggested by the ed. as tri (. te? ke). list_item
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36 15. C.r. in S R I Sudhā, p. 94. list_item
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37 16. Bha Ko, p. 765 adds 'rāga-svareņa'. list_item
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38 17. Portion added according to S R I Sudhā, p. 94. list_item
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39 18. Ed. suggests rşabhasya. list_item
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40 19. Ed. suggests dhaivalasya. list_item
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41 20. MS A reading as recorded by the ed. list_item
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42 21. MSS reading, reconstructed by the ed. as 'tadanu'. list_item
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43 Se STATISTICS annotation_inline
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vol_I_p054 RIGHT — 38 lignes

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1 91 page_number
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2 TRANSLATION page_header
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3 Udghaisita (rubbed, pressed or shaken upwards) (26) Ākṣiptaka (thrown down) main
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4 (27) Sampradāna (the act of giving or bestowing), (28) Hasita (laughter), (29) main
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5 Hunkāra (the 'hum' sound) (30) Sandhipracchādana (covering the joint or main
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6 juncture) (31) Vidhuta (shaken off) (32) Udgita (sung, celebrated) (33) main
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7 Gātravarṇa (the colour of the body). main
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8 (Anu. 70) annotation_inline
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9 Now the definition of these alankāras is being given (said). That is thus—the main
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10 gradual ascent beginning from 'low' upto the starting point of 'high' is (known main
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11 as) prasannādi.27 By the word mandra28 is denoted the low sound. As - sā nī gā main
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12 mā pā dhā nī sā.29 annotation_inline
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13 (1) annotation_inline
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14 Thus is (ends) prasannādi. annotation_inline
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15 (Anu. 71) annotation_inline
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16 Beginning from tara 30 (high) and (reaching) upto mandra (low) is main
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17 prasannānta. As - sā<sup>31</sup> nī dhā pā mā gā nī sā. Thus is (ends) prasannānta. main
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18 (2) annotation_inline
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19 (Anu. 72) annotation_inline
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20 Where there is 'low' in the beginning and end and 'high' in the middle, main
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21 that is prasannādyanta. As - sā rī gā mā pā dhā nī sā, 52 sā nī dhā pā mā gā rī main
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22 (3) annotation_inline
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23 sā. Thus is (ends) prasannādyanta. main
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24 (Anu. 73) annotation_inline
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25 Where there is 'low' in the middle and 'high' in the beginning and end, main
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26 that is prasannamadhya. As - sā 33 ní dhā pā mā gā rī sā, sā rī gā mā pā dhā ni main
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27 (4) annotation_inline
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28 sā.34 Thus is (ends) prasannamadhya. main
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29 (Anu. 74) annotation_inline
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30 The pronunciation (sounding) of the seven svaras with a similar sound in main
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31 the three registers is sama. This is being said. (A svara) should be made main
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32 (sounded) in the three registers with the same number of śrutis 35 as it is main
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33 composed of (originally). As - sa ri ga ma pa dha ni - thus (it is). Or, sama main
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34 (comes into being) on account of the pronunciation of pairs of samvādin main
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35 (consonant) svaras. That is as - sama sapa ridha gani (thus). When the grāma main
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36 changes (to madhyamagrāma, then) sama, ripa, gani - thus is the special main
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37 <b>(5)</b> annotation_inline
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38 (structure of pairs). Thus is (ends) sama. main
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199 lignes a valider — change uniquement les roles incorrects.