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 21173). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p060 RIGHT — 32 lignes

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1 103 page_number
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2 TRANSLATION page_header
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3 phrase). As - sarigā garisā, rigamā magarī, gamapā pamagā, mapadhā dhapamā, main
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4 padhanī nidhapā, dhanisā 76 sanidhā, padhanī nidhapā, mapadhā dhapamā, main
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5 gamapā pamagā, rigamā magarī, sarigā garisā. Or, sarigama magarisa, rigamapa main
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6 pamagari, gamapadha dhapamaga, mapadhani nidhapama, padhanisa 77 main
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7 sanidhapa, mapadhani nidhapama, gamapadha dhapamaga, rigamapa pamagari, main
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8 sarigama magarisa. Thus is (ends) hunkāra in eighteen kalās (phrases). main
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9 (29) main
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10 (Anu. 99) section_header
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11 From the high (şadja), after going to the seventh (svara viz. nişāda), again main
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12 coming back there itself (on sadja), through the pronouncement of two svaras main
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13 in the descending order, on making four kalās (units in each phrase), main
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14 sandhipracchādana (is formed). As - sani sani sani sani, nidha nidha nidha main
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15 nidha, dhapa dhapa dhapa, pama pama pama pama, maga maga maga main
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16 maga, gari gari gari gari, risa risa risa risa risa risa risa nisa, gari gari gari main
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17 gari, maga maga maga, pama pama pama pama, dhapa dhapa dhapa main
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18 dhapa, nidha nidha nidha nidha,78 sani sani sani sani. Thus is (ends) main
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19 (30) annotation_inline
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20 sandhipracchādana. main
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21 (Anu. 100) section_header
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22 Having pronounced the amsa svara 79 (initial note) four times, after that main
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23 with the fast pronunciation of two immediate svaras, with gradual (successive) main
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24 ascent, ekakala (single-phrased) vidhuta (is formed) As - sa sa sa sa riga, ri ri main
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25 ri ri gama, ga ga ga mapa, ma ma ma padha, pa pa pa dhani, dha main
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26 (31) annotation_inline
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27 dha dha dha nisa. Thus is (ends) vidhuta. main
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28 (Anu. 101) section_header
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29 Udgita (is formed) on account of the descent from high with the gap of one main
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30 svara (in each phrase) in (successive) order. As - sadha nipa dhama paga mari main
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31 (32) annotation_inline
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32 gasa. Thus is ends udgita. main
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vol_I_p022 RIGHT — 27 lignes

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1 27 page_number
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2 TRANSLATION page_header
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3 Now I shall speak of the śruti-maṇḍala of madhyama (- grāma). This Madhyama main
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4 (having four śrutis) should be known (located), having transgressed three main
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5 (48) annotation_inline
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6 (śrutis). main
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7 Having transgressed two śrutis (on the third śruti) should be (located) main
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8 pañcama. Thence having transgressed three (srutis) (on) the fourth (śruti) is main
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9 (49) annotation_inline
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10 dhaivata. main
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11 Having transgressed one (śruti) niṣāda is known on the second (śruti). main
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12 Having transgressed three śrutis then is (located) şadja on the fourth (śruti). main
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13 (50) annotation_inline
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14 Rṣabha is later (on) the third (śruti), leaving two (śrutis). Having main
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15 (51) annotation_inline
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16 transgressed one śruti, (on) the second (śruti) is gāndhāra. main
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17 The śruti-maṇḍala of madhyama-grāma is thus— main
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18 ma annotation_inline
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19 pa unknown
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20 ga unknown
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21 гi unknown
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22 dha unknown
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23 ni annotation_inline
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24 sa annotation_inline
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25 (Anu. 14) main
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26 Bharata, on the other hand, has shown śruti-maṇḍala (in ṣaḍja-grāma) main
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27 beginning with rṣabha.65 What is the reason? It is being said. In order to main
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vol_I_p103 RIGHT — 49 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA page_header
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2 189 page_number
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3 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that list_item
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4 whatever pattern is established in an alankāra it should be followed all-through. list_item
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5 If varna is taken to stand for syllabic unit, then the conflict and its prohibition list_item
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6 become clear. list_item
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7 118. Using an alankāra without a varņa ( melodic movement ) is a list_item
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8 contradiction in itself; here also, as above (note 117) the idea seems to be that list_item
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9 an alankāra should not be used without establishing a definite pattern. Here list_item
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10 varna as a syllabic unit does not seem to be relevant. list_item
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11 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alankāra in list_item
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12 relation to varna (the syllabic unit) have been figuratively spoken of as—(i) list_item
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13 the alankāra makes the varņa bright or brilliant ( like the moon ), (ii) it list_item
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14 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom list_item
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15 (like a flower on a creeper) and (iv) it makes the varna colourful or delightful list_item
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16 (like an ornament on a woman). list_item
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17 120. It is notable that all illustrations begin with sadja and do not extend list_item
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18 beyond the tāra şadja. list_item
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19 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. list_item
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20 Section VII ( Pada-giti ) section_header
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21 1,2,3. Giti literally means song or the act of singing, but here it stands for list_item
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22 specific pattern of singing with reference to the text of the song as manifest in list_item
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23 its syllabic units (akşara) and metre (chandas). NŠ mentions only these four list_item
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24 gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to list_item
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25 distinguish between these two types of gitis, the first type being related to the list_item
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26 rendering of text and the second type being related to the rendering of raga, we list_item
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27 have qualified the gitis under reference with pada, and the gitis of raga list_item
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28 classification will be qualified with svara or raga. list_item
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29 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means list_item
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30 descent (of svaras); here it means repetition. list_item
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31 5. Nivitta lit. means receded or held back as opposed to pravitta meaning list_item
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32 proceeded or set forth. Here it means accomplished or completed. list_item
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33 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system list_item
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34 which represent three 'degrees' of length of a given tāla-cycle, depending on list_item
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35 the duration of kalā or standard time-unit, as follows - list_item
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36 Duration of kalā section_header
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37 Name of marga section_header
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38 2 mātrās annotation_inline
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39 1. Citra main
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40 4 mātrās annotation_inline
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41 2. Vārtika or vṛtti main
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42 8 mātrās annotation_inline
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43 3. Daksina unknown
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44 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika main
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45 and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 main
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46 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three main
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47 (vide) annotation_inline
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48 T 1 annotation_inline
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49 (vide) annotation_inline
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vol_II_p068 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 118 page_number
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2 BRHADDESÎ page_header
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3 [अनु॰ २०२] editorial_bracket
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4 ननु कश्यपमुनिना नर्तरागस्य किमित्यादौ निर्देश: कृत: ? उच्यते । उद्भटचांरिमण्डलाजौ main
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5 न(क?) र्क annotation_inline
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6 न्दौ annotation_inline
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7 विनियुज्यमानत्वान्मुख्यत्विमिति कश्यपमते । दुर्गशक्तिमते तु षड्जकैशिक एव मुख्यः । कुतः ? main
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8 षाडवत्वेन क्रमायातत्वात् । तद्यथा - main
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9 [१.नर्तरागः] section_header
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10 ९१पञ्चमांशो मध्यमान्तः पञ्चमीमध्यमोद्भवः । main
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11 नर्तरागस्तु विज्ञेय: स्वल्पद्विश्रुतिकस्वर: ॥ ३३३॥ main
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12 ·(वि ? द्वि)· main
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13 [अनु॰ २०३] section_header
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14 अस्यार्थः - नर्तरागो मध्यमग्रामसम्बन्धः पञ्चमीमध्यमोद्भवत्वात् । पञ्चमो ग्रहोंऽशश्च । main
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15 मध्यमो न्यास: । निषादगान्धारयोरत्राल्पत्वम् । निषादोऽत्र काकली । उद्भटचारिमण्डलाजौ<sup>९२</sup> main
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16 (जी?दी) annotation_inline
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17 चास्य विनियोग: । शृङ्गारादिरस:<sup>९३</sup>। पञ्चमादिमूर्छना । अलङ्कार: प्रसन्नमध्यम: ।  वर्ण: सञ्चारी । main
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18 इति कश्यपमते॥ main
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19 [अनु॰ २०४] section_header
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20 <sup>९४</sup>दुर्गशक्तिमते तु अयमेव राग: पञ्चमीधैवतीजात्योर्जायते, षड्जग्रामसम्बन्ध एव main
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21 बोद्धव्यः। कुतः? पञ्चमस्य चतुःश्रुतिकत्वाद्भैवतस्य त्रिश्रुतिकत्वात् षड्जग्रामसम्बन्धः । main
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22 <b>॰त्वात्, धैवतस्य</b> annotation_inline
parent ligne 21
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23 [२. शक:] section_header
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24 स्यात् षाड्जीधैवतीजात्योः षड्जन्यासांशसंयुतः । main
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25 (जि? ह्जी) annotation_inline
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26 दुर्बल: पञ्चमो यत्र १५स शक: परिकीर्तित: ॥ ३३४॥ main
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27 काकल्य:(?) annotation_inline
parent ligne 26
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28 [अनुष् २०५] section_header
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29 अस्यार्थः - शकः षड्जग्रामसम्बन्धः, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य main
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30 ग्रहोंऽशो न्यासश्च। <sup>१६</sup>पञ्चमस्याल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । main
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31 (पश्चमस्याल्पत्वम्) annotation_inline
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vol_I_p059 LEFT — 53 lignes

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1 BRHADDEŚI page_header
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2 100 page_number
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3 उद्घट्टितः। [ यथा - ] सरिमप पमरिस, रिगपध धपगरि, गमधनि निधमग, मपनिस editorial_bracket
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4 रि annotation_inline
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5 सा annotation_inline
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6 धा annotation_inline
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7 सा annotation_inline
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8 पा annotation_inline
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9 सनिपम् अपधनिस । सनिपम मपनिस, निधमग गमधनि, धपगरि रिगमध, पमरिस main
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10 नी annotation_inline
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11 री main
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12 सा annotation_inline
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13 गा annotation_inline
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14 धा annotation_inline
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15 सा annotation_inline
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16 मा annotation_inline
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17 सरिमप, मगरिस [ इति ] उद्घट्टितः। editorial_bracket
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18 [ २५ ] editorial_bracket
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19 पा annotation_inline
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20 सा annotation_inline
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21 अन्₀ ९५ ] section_header
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22 त्रिभिः स्वररारोहक्रमेण वा एककलादारभ्य यावत् षट्कलमित्येवं main
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23 कलामानादाक्षिप्तकः। [ यथा - ] सरिगा नु रिगमा नु गमपा नु मपधा नु पधनी नु editorial_bracket
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24 धनिसा नु सनिधा नु निधपा नु धपमा नु पमगा नु मगरी नु गरिसा नु main
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25 २६ । annotation_inline
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26 इत्याक्षिप्तकः । main
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27 अनु, ९६ section_header
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28 प्रथमात् स्वरा [ द ] नन्तरं परित्यज्य स्वरद्वये च गत्वा तेनैव editorial_bracket
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29 क्रमेणा- main
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30 व ] रोहणादेककलादवरोहणेऽपि चैककल इति द्विकलसम्प्रदानश्च द्वाविंशतिकलः। [यथा -] editorial_bracket
parent ligne 29
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31 सगमा मरिसा, रिमपा पगरी, गपधा धमगा, मधनी निपमा, पनिसा main
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32 संधपा, धनिसा। संधपा पनिसा, निपमा मधनी, धमगा गपधा, पगरी रिमपा, मरिसा संगमा, main
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33 गरिसा सम्प्रदानः। अथवा सगमा मगसा, रिमपा पमरी, गपधा धपगा, मधनी निधमा, main
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34 पा annotation_inline
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35 म annotation_inline
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36 पनिसा सनिपा, धनिसा। सधपा पधसा, निपमा मपनी, धमगा गमधा, पगरी रिगपा, main
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37 [ २७ ] editorial_bracket
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38 मरिसा सरिमा, गरिसा इति सम्प्रदानः । main
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39 अन्० ९७ section_header
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40 सम्प्रदानस्यैव द्विकलयोगेन हसनाद्धसितः। [ यथा -] सग मम रिस, रिम पप गरि, editorial_bracket
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41 गप धध मग, मध निनि पम, पनि सस धप, अधनिस सध पप निस, निप मम धनि, main
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42 ₹, annotation_inline
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43 धम गग पध, पग रिरि मप, मरि सस गम, गरिस [ इति ] हसितः। editorial_bracket
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44 Ⅰ २८ ] editorial_bracket
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45 गा annotation_inline
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46 धा annotation_inline
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47 मा annotation_inline
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48 सा annotation_inline
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49 सा annotation_inline
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50 पा annotation_inline
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51 [ अनु。 ९८ ] section_header
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52 ह्सितवत् स्वरत्रयारोहणेन चतुष्टयारोहणेन वा उभयथाप्येककलो हुद्कारः। [यथा -] editorial_bracket
parent ligne 51
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53 सरिगा गरिसा, रिगमा मगरी, गमपा पमगा, मपधा धपमा, पधनी निधपा, धनिसा main
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192 lignes a valider — change uniquement les roles incorrects.