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 21152). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p086 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
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2 154 page_number
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3 एता[हि]याष्टिकप्रोक्ता [भाषा मालवकैशिके] ॥ ७१॥ editorial_bracket
parent ligne 4
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4 याष्टिकेन प्रयुक्ताः main
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5 [३. अथ ककुभे] section_header
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6 धैवताद्यन्तसंयुक्ता काम्बोजा पूर्णसुस्वरा । main
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7 षड्जधैवतसंवाद: पञ्चमर्षभयोस्तथा ॥ main
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8 एषा भाषा तु देशाख्या प्रथमा ककुभोद्भवा ॥ ७२॥ main
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9 उदाहरणम् - धासागागा । मागारीसासासनिसासा । धापापा । धामासारिगा मागारीसासा main
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10 सनिधाधा पापामधा निरिसनिधाधा ।[काम्बोजा]।[१] editorial_bracket
parent ligne 9
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11 मध्यमांशा धैवतान्ता पूर्णा मध्यमग्रामिका । main
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12 परस्परं तु दृश्येते सहितावृषभधैवतौ ॥ main
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13 दुश्येत annotation_inline
parent ligne 12
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14 एषा भाषा च सङ्कीर्णा रम्या ककुभसम्भवा<sup>५८</sup>॥ ७३॥ main
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15 उदाहरणम् - मामा । गरिधासारीसामा । निगरिसनिसानिधा । साधासाधनिरिसा । धनिरिरि । main
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16 मापापमागा । रिरिरिरि । गाम । गाम । धाधामापामागारीसासाधा धधध । मध्यमग्रामिका । [२] editorial_bracket
parent ligne 15
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17 ऋषभांशा धैवतान्ता विज्ञेया <sup>५९</sup>सातवाहिनी । main
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18 परस्परं तु दृश्येते ६०सङ्गतौ मध्यमर्षभौ ॥ main
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19 दुश्यन्ते मध्यमर्पभसङ्गतौ annotation_inline
parent ligne 18
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20 सप्तमं बहुमिच्छन्ति केचित् तेनैव दुर्बलम् ॥ ७४॥ main
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21 केचिदिच्छन्ति annotation_inline
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22 उदाहरणम् - [रिरि] गधरिरिमा । मामानिमाधाधधाधा पमपममरिममासिर । editorial_bracket
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23 मामपपामपपापा- annotation_inline
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24 पापमरिमरिमामासरि। पापपससानि।धाधारि। सासासासारीमनिधाधाधा पधासाधपाधा main
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25 पमपापामरिमामासारि मापापामासानिधाधा । सातवाहिनी । [३] editorial_bracket
parent ligne 24
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26 <sup>६१</sup>मध्यमांशा निषादान्ता ऋषभेण तु दुर्बला । main
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27 सङ्गतिर्दृश्यते यत्र द्विश्रुत्यो: पञ्चमस्य च ॥ main
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28 भाषेयं षाडवा ज्ञेया ककुभे भोगवर्धनी ॥ ७५॥ main
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29 उदाहरणम् -[मामा] निनी । गगमा । पामापमा । धाधा । सनिसनि । धपधाधपमापाम । गगगग। editorial_bracket
parent ligne 28
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30 मपधाधानी । सससस । मागसानिधाधाधा [नी]। भोगवर्धनी ।[४] editorial_bracket
parent ligne 28
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vol_II_p106 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 195 page_number
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3 ......Mālavī [iii] editorial_bracket
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4 .....Gūrjarī [iv] editorial_bracket
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5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
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6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
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7 bāhyaṣāḍavā. annotation_inline
parent ligne 6
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8 (24) main
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9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
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10 Mādhāmāgā annotation_inline
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11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
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12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
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13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
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14 context of ) the door-keepers. 21 main
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15 (25) annotation_inline
parent ligne 14
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16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
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17 Kausalī [vi] editorial_bracket
parent ligne 16
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18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
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19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
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20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
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21 (26) annotation_inline
parent ligne 20
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22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
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23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
parent ligne 22
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24 Combined with dhaivata as the initial and concluding note, devoid of main
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25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
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26 (27) annotation_inline
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27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
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28 pāpāgāmā · annotation_inline
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29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
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30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
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31 Svaravallitā [viii] editorial_bracket
parent ligne 30
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32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
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33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
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34 in due order (?).<sup>24</sup> main
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35 (28) main
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vol_II_p022 RIGHT — 26 lignes

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1 E. annotation_inline
parent ligne 4
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2 27 page_number
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3 TRANSLATION page_header
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4 In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are main
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5 always to be omitted respectively (for making ṣāḍava and auḍava forms). main
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6 Şadja and pañcama are to be known as the two apanyāsas. One should move main
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7 from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this main
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8 (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be main
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9 accorded abundant usage. Sañcāra (to and fro movement) is to be rendered main
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10 in this (jāti) between ṣaḍja and gāndhāra by the performers. main
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11 <math>(222-224)</math> annotation_inline
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12 Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama main
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13 are the two amsas and the auduvita (pentatonic) form is not desirable in it. main
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14 (225) annotation_inline
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15 In madhyamā there are five amśas, excepting the two svaras composed of main
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16 two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming main
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17 the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by main
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18 omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and main
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19 madhyama are abundant. main
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20 (226) annotation_inline
parent ligne 19
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21 Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; main
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22 pañcama is amsa in it. main
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23 (227) annotation_inline
parent ligne 22
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24 In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. main
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25 These two alongwith niṣāda are apanyāsa and there is the sangati (concert) main
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26 between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse. main
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vol_II_p166 RIGHT — 41 lignes

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1 VIMARŚA page_header
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2 315 page_number
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3 a bhāṣā is something that deserves special notice. main
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4 31. 'Pārvatī' is associated with parvata or mountains; whether or not main
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5 a particular mountainous region is implied, is hard to confirm. "Parvata is main
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6 1. a country in the Panjab to the north-west of Multan between the Ravi and main
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7 Sutlej. 2. same as Śrīśaila" (Nando Lal De ). It is difficult to say whether main
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8 the mountains in general or a particular mountainous region or either of main
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9 the two identifications cited above is intended. main
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10 Chapter V section_header
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11 (Desī rāgas) section_header
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12 1. This verse bears a distinct stamp of the Tantric stream and is list_item
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13 significant on account of being placed in the beginning of the chapter on list_item
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14 desī rāgas. It could be conjectured on the evidence of this verse and on other list_item
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15 evidence also that our author gave rāga-dhyānas for deśī rāgas (see Vol.III). list_item
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16 2. Deśī rāgas are contradistinct to grāmarāgas. list_item
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17 3. Reference to laksya in the context of desi rāgas points to the fact that list_item
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18 they must have been in vogue in the author's time. list_item
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19 4. The citation in the name of Matanga given by Kalli, in his list_item
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20 commentary on SR II.2.1. also mentions these three types of desī-rāgas, but list_item
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21 Sārngadeva has added a fourth category named upānga. list_item
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22 5. 'Chāyā' is subtle similarity. list_item
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23 6. The special mention of panegyric in the context of bhāṣāṅga rāgas list_item
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24 is worth noticing. list_item
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25 7. 'Bhāṣā 'here would include vibhāṣā and antara-bhāṣā. list_item
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26 8. 'Kriyā' seems to stand for expressive rendering. list_item
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27 9. Karuņā and utsāha are two pervasive names that symbolise mādhurya list_item
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28 and ojas respectively (See Vol. III). list_item
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29 10. The text is mutilated at this point and a small portion on bhāṣāṅga list_item
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30 rāgas seems to have survived. list_item
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31 11. Kacchelli could perhaps, be related to Kacch (Cutch); "it was list_item
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32 called Marukaccha in contradistinction to Kausiki-kaccha". (Nando Lal list_item
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33 De). list_item
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34 12. Māngalī has been described as a bhāṣā in the preceding section. list_item
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35 13. Bhammāṇa is not known as a region. list_item
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36 14. 'Pulindikā' refers directly to the ethnic group known as the list_item
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37 pulindas. list_item
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38 15. Gāndhārasindhu is mentioned as a bhāṣāṅga rāga in S Rāj list_item
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39 II.2.3.203, but is said to be out of vogue and is not, therefore, described. list_item
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40 16. Karņātī is described in S Raj II.2.3.208, but the laksaņas are list_item
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41 different. list_item
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vol_II_p098 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 179 page_number
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3 11. Now in <i>takkakaišika</i> section_header
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4 Mālavapañcamī should be known to be combined with dhaivata as the main
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5 initial and concluding note. There is concert between șadja-ṛṣabha and main
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6 similarly between sadja-dhaivata. This is complete with beautiful svaras main
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7 (and) is a charming regional<sup>65</sup> bhāsā. main
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8 (133) annotation_inline
parent ligne 7
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9 lllustration - Dhaivata dhāpādhaivata dhādhādhārimāmādhā.Pāmadhādhā main
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10 pāmāgarimādhāpādhā. Mālavā [i] editorial_bracket
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11 Bhinnavālikā should be known to have şadja as amśa (and) dhaivata as main
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12 nyāsa. The mutual profusion of dhaivata and niṣāda is seen sometimes and main
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13 not so at other times. It bears the name bhinnapañcama<sup>66</sup> (?). This bhāṣā is main
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14 commonly known as sankīrņā (mixed) and is beautiful. main
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15 <math>(134-135)</math> main
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16 Illustration-Sāsāsāgāsādhā nīsāsādhānīmadhā nidhādhādhā nidhāmādhā main
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17 nimadhāpādhādhādhā.Bhinnavālikā [ii] editorial_bracket
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18 Drāvidī is said to have gāndhāra as amśa, dhaivata as the concluding note, main
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19 there is (mutual) movement between the svaras comprised of two śrutis each main
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20 and similarly between şadja-dhaivata. This pertains to the Drāvida region, main
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21 is charming and bears a regional name. main
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22 (136) annotation_inline
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23 Illustration-[<i>Gā] Dhānimadhānidhādhādhā-nidhāmadhāpādhādhādhā</i> editorial_bracket
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24 pāmādhādhā-gāmādhādhāsāgāsānidhādhā pāmāgāmamani [dhā]. Drāvidī [iii] editorial_bracket
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25 These are the three <i>bhāṣās</i> of <i>ṭakkakaiśika</i>. main
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26 12. Now in vesarașādava section_header
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27 Bāhyaşāḍavā should be known to be combined with madyama as the initial main
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28 and concluding note. There is concert between the two svaras comprised of main
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29 two śrutis each and similarly between madhyama-ṛṣabha. This bhāṣā is sung by main
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30 people as being complete in svaras. Bāhyaṣāḍavikā<sup>67</sup> is a bhāṣā there in main
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31 vesara-șâdava (rāga). main
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32 <math>(137-138)</math> main
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164 lignes a valider — change uniquement les roles incorrects.