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 21154). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p012 RIGHT — 35 lignes

page vol_II_p012 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 7 page_number
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3 "The jātis are born as śuddhā and vikṛtā through samavāya (commingling main
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4 of the svaras assuming the functions of graha, amśa, nyāsa etc.). Further main
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5 there are other eleven (jātis) that have been made 'impure', i.e. have only main
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6 a vikṛtā state."7 annotation_inline
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7 (NŚ XXVIII.46) main
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8 Out of these (jātis) I shall describe briefly here in sequence the jātis that main
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9 are formulated or accomplished through ainsa svaras, omission (of one or main
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10 two notes) and the like. main
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11 (192) annotation_inline
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12 Ṣadja-madhyamā (is born) on account of the blending of ṣadjā and main
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13 madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes main
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14 into being from the above two (ṣaḍjā and gāndhārī) with the addition of main
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15 dhaivatī; gāndhārodīcyavā comes into existence from these (ṣaḍjā, gāndhārī main
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16 and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of main
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17 the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī main
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18 arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the main
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19 fourth one; <i>āndhrī</i> is born of the blending of <i>ārṣabhī</i> and <i>gāndhārī</i> alone; main
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20 nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition main
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21 of pañcami; these (three) go to make kārmāravī, with the omission of main
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22 gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī main
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23 and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī main
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24 and dhaivati, thus are the blendings or mixtures. main
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25 <math>(193-198)</math> main
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26 Now they (honorific for the author) have spoken of the classification (of main
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27 jātis) – annotation_inline
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28 Four jātis should be known by the wise to be always composed of seven main
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29 svaras, four are composed of six svaras and the other ten are known as being main
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30 composed of five svaras each. main
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31 (199) annotation_inline
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32 This itself becomes clear - main
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33 Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly main
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34 gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them. main
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35 (200) main
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vol_I_p059 RIGHT — 34 lignes

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1 101 page_number
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2 TRANSLATION page_header
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3 remaining svaras, udghațțita is composed of eighteen kalās (phrases). As - main
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4 sarimapa pamarisa, rigapadha dhapagari, gamadhani nidhamaga, mapanisu 66 main
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5 sanipama, padhanisa; sanipama mapanisa, nidhamaga gamadhani, dhapagari main
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6 rigamadha, pamarisa sarimapa, magarisa. Thus is (ends) udghattita. (25) main
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7 (Anu. 95) annotation_inline
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8 Aksiptaka (is formed) with the measure of kalās (time-units) starting with main
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9 one-kalā-unit 67 (and extending) upto six-kalā - unit with three svaras in the main
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10 ascending order (in each phrase). As - sarigā nu, rigamā nu, gamapā nu, main
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11 mapadhā nu, padhani nu, dhanisā 68 nu, sanidhā nu, nidhapā nu, dhapamā nu, main
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12 pamagā nu, magarī nu, garisā nu. Thus is (ends) ākṣiptaka. main
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13 (26) annotation_inline
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14 (Anu. 96) annotation_inline
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15 Leaving the immediate (svara) after the first one and going (forward) in main
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16 two svaras and on account of descent in the same order in the ekakala 69 (one main
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17 time-unit form) (and) also (the same pattern) in ekakala in descent, thus is the main
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18 sampradāna in dvikala 70 (with two-unit phrases) that is composed of twenty-two main
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19 kalās (phrases). As - sagamā marisā, rimapā pagarī, gapadhā dhamagā, madhanī main
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20 nipamā, panisā sadhapā, dhanisā; sadhapā panisā, nipamā madhani, dhamagā main
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21 gapadhā, pagarī rimapā, marisā sagamā, garisā. Thus is (ends) sampradāna.71 main
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22 Or, sagamā magasā, rimapā pamarī, gapadhā dhapagā, madhanī nidhamā, main
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23 panisā sanipā, dhanisā; sadhapā padhasā, nipamā mapanī, dhamagā gamadhā, main
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24 pagarī rigapā, marisā sarimā, garisā. Thus is (ends) sampradāna. (27) main
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25 (Anu. 97) annotation_inline
parent ligne 24
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26 Hasita is on account of 'laughter'72 (or sport) in the dvikala73 (composed of main
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27 dual units) combination. As - saga mama risa, rima papa gari, gapa dhadha main
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28 maga, madha nini pama, pani sasa dhapa, dhanisā;74 sadha papa nisa, nipa main
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29 mama dhani, dhama gaga padha, paga riri mapa, mari sasa gama, garisā. Thus main
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30 (28) annotation_inline
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31 is (ends) hasita. annotation_inline
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32 (Anu. 98) annotation_inline
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33 Like hasita, through the ascent (and descent) of three svaras, or the ascent main
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34 (and descent) of four svaras, both ways hunkāra is ekakala 75 (with one-unit main
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vol_II_p060 LEFT — 26 lignes

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1 102 page_number
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2 BRHADDEŠĪ page_header
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3 [अनु॰ १८३] editorial_bracket
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4 [ अस्यार्थ:- ]चतुःश्रुतेः पञ्चमस्य यदा श्रुतिद्वयं गृह्णाति निषादः तदासौ श्रुतिभिन्नोऽभिधीयते। editorial_bracket
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5 ननु मध्यमग्रामे पञ्चमस्य त्रिश्रुतिकत्वात् कथं श्रुतिद्वयं गृह्णाति निपाद:? main
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6 उच्यते । annotation_inline
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7 (fa) annotation_inline
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8 भूतपूर्वन्यायेन चतुः श्रुतिरुच्यते । यथा भित्रकैशिकरागे त्रिश्रुतिपञ्चमस्य च[तुः] श्रुतित्वमाश्रित्य लोपः editorial_bracket
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9 कृतः पड्जग्रामे, एवमत्रापि भविष्यतीति न दोषः । लक्षणं चास्य तद्यथा - main
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10 [५. भिन्नतान:] editorial_bracket
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11 <sup>६र</sup>तानस्तु मध्यमन्यासः पञ्चमांशोऽल्पसप्तमः । main
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12 मध्यमापञ्चमीजात्योर्ऋषभेण तु दुर्बल: ॥ ३१३॥ main
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13 [अनु॰ १८४] editorial_bracket
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14 अस्यार्थः - भिन्नतानो मध्यमग्रामसम्बन्धः मध्यमापञ्चमीजात्युत्पन्नत्वात् । main
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15 पञ्चमो annotation_inline
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16 भित्रनासिका(?) annotation_inline
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17 ग्रहोंऽशश्च। मध्यमो न्यास:। मध्यमनिषादयोरल्पत्वम् [?]<sup>६२</sup>। निषादोऽत्र काकली। पूर्णश्चायम editorial_bracket
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18 प्रौढकरुणेऽस्य प्रयोग:। पञ्चमादिमूर्छना।सञ्चारी वर्ण:।प्रसन्नादिरलङ्कार;।दक्षिणे कला, वार्तिके main
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19 कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:। main
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20 [भिन्नरागाणां ग्रामविभागः] section_header
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21 [अनु॰ १८५] editorial_bracket
parent ligne 20
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22 भित्रानां ग्रामविभागस्तु काश्यपेनोक्त:। तथा च - main
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23 ‘‘भित्रषड्जस्तु षड्जे स्याद् भिन्नकैशिकमध्यम:। main
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24 पञ्चम: कैशिकस्तानो मध्यमग्रामसंश्रित: ॥'' main
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25 <b>ल्स्ता</b>ने annotation_inline
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26 इति भित्रा: समाख्याता गौडकाञ् शृणु साम्प्रतम् ॥ ३१४॥ main
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vol_II_p096 RIGHT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 175 page_number
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2 TRANSLATION page_header
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3 Illustration-.....Sādhāritā [iii] editorial_bracket
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4 Gāndhārī has niṣāda as amśa, ṣadja as the concluding note, (and) is main
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5 complete in svaras. This is a bhāṣā in sauvīraka (rāga) and is always sung in main
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6 karuna (rasa).<sup>57</sup> main
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7 (123) annotation_inline
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8 Illustration - Ninigāgāpāmāmānisāmāgānī dhāsāsāsā. Gāndhārī [iv] editorial_bracket
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9 Thus end the <i>bhāṣās</i> of <i>sauvīraka</i>. main
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10 [8. After this are being described the bhāṣās in bhinna-paācama] section_header
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11 Śuddhabhinnakā has dhaivata as amśa and the same as the concluding note, main
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12 is complete, there is concert between dhaivata-ṛṣabha and similarly between main
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13 șadja-madhyama. This śuddhabhinnā is said to be born of bhinnapañcama. It main
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14 is always sung by the Kinnaras<sup>58</sup> in view of its being delightful to the people. main
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15 (124-125) annotation_inline
parent ligne 14
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16 Illustration - Dhānidhānisasadhā nīdhānisāgāsanigānidhā main
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17 pāpāninimapāmāpāpamādhā dhāpādhāpādhādhā. Śuddhabhinnā [i] editorial_bracket
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18 Having madhyama as amśa, dhaivata as the concluding note, weak in ṛṣabha, main
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19 this bhāṣā is hexatonic with profuse dhaivata and madhyama. There is concert main
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20 between şadja-dhaivata and the svaras comprised of two śrutis each alongwith main
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21 dhaivata. It is well-known as varāṭī and is verily sung by the vidyādharas. 59 main
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22 <math>(126-127)</math> annotation_inline
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23 Illustration - Mādhāsadhānidhā pānimāmāgāsāsāgāmāgā sādhānīdhā. main
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24 Dhādhā dhādhāsādhānī pāpāmāgāsāsāgāmā [dhādhā]. Varāṭī [ii] editorial_bracket
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25 Lower (mandra) ṛṣabha should be used and so also dhaivata again and main
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26 again. (The gamaka) sphurita60 should be used there as fast, medium and main
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27 One should bring about movement in high and low and similarly main
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28 slow.<sup>61</sup> annotation_inline
parent ligne 27
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29 ascentand descent. Eshould be known as a vibhāṣā born of bhinnapañcama. main
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30 <math>(128-129)</math> main
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vol_I_p029 RIGHT — 22 lignes

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1 41 page_number
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2 TRANSLATION page_header
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3 The vadi-maṇḍala in madhyama-grāma is thus - ma pa dha ni sa ri ga. main
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4 The samvādi-mandala in madhyama-grāma is thus- main
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5 ma unknown
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6 pa unknown
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7 ga unknown
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8 Γi unknown
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9 dha unknown
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10 ni unknown
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11 sa unknown
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12 • annotation_inline
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13 The anuvādi-maṇḍala in madhyama-grāma is thus - main
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14 ŧ annotation_inline
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15 ma unknown
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16 pa unknown
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17 ga unknown
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18 <math>\vec{\Pi}</math> unknown
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19 dha unknown
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20 . annotation_inline
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21 ni unknown
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22 sa unknown
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147 lignes a valider — change uniquement les roles incorrects.