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 21238). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p104 LEFT — 34 lignes

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1 (vide) annotation_inline
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2 後継続(国際)できます。 annotation_inline
parent ligne 5
via heuristic_height
3 190 page_number
via heuristic_pagenum
4 BRHADDEŠĪ page_header
via surya_layout
5 [३. अथ मालवपञ्चमे] section_header
via surya_layout
6 विभाविनी तु १४पौराली वेगवन्ती तु पञ्चमी । main
via surya_layout
7 पो पा पा annotation_inline
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8 आन्ध्री गान्धारिका चैव षट् स्युर्मालवपञ्चमे ॥ १४॥ main
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9 37 page_number
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10 पञ्चमाद्यन्तसम्पूर्णा स्याद् देशजा विभाविनी । main
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11 + देशं भा (?) annotation_inline
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12 गीयते केशरचनाकामिनीमितसङ्गमे १५॥ १५॥ main
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13 ॰िमति॰(?) annotation_inline
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14 <sup>१६</sup>[उदाहरणम्] – पनिनिमागारि सानिरिनिसारिगामापापामागारिसानिनिधानीनीधामापापा । editorial_bracket
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15 υo annotation_inline
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16 विभाविनी।[१] editorial_bracket
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17 ..पौराली । [२] editorial_bracket
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18 पञ्चमांशा तु सम्पूर्णा [ज्ञेया वेगवती शुभा] । editorial_bracket
parent ligne 12
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19 विभाषा १७करुणे दैन्यभूयिष्ठे चैव गीयते १८ ॥ १६॥ main
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20 + भाषाकरणे annotation_inline
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21 चैवमुद्धारे annotation_inline
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22 उदाहरणम् - पापानिधाधानि धागासासासानि धाधानिनिपा धामा । गागाधामा मापापाधा main
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23 नीसासारीगारी । सनिधापापा । वेगवती । [३] editorial_bracket
parent ligne 22
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24 पञ्चमांशान्तसम्पूर्णा मूलभाषा तु पञ्चमी । main
via surya_layout
25 पञ्चमार्ध तु annotation_inline
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26 प्रगल्भमनसे गीते चैषा मालवपञ्चमे ॥ १७॥ main
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27 उदाहरणम् – पापापामासा रिरिगानिनिधाधा धाधारिनिगारिमागरिनीधा पापापाधा पामामापा माधानिरिमा main
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28 गामागारी सासानिसानि धापापा । पञ्चमी । [४] editorial_bracket
parent ligne 27
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29 ॰मा annotation_inline
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30 मध्यमांशा पञ्चमान्ता भाषा स्यादान्ध्रदेशजा । main
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31 भावनास्था घ्रुवेशजा annotation_inline
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32 आन्ध्री तु विश्रुता लोके <sup>१९</sup>व्याधिदुष्टेषु गीयते ॥ १८॥ main
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33 370 page_number
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34 व्याधाः (?) annotation_inline
parent ligne 32
via heuristic_height

vol_II_p059 LEFT — 34 lignes

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1 BŖHADDEŚĪ page_header
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2 100 page_number
via heuristic_pagenum
3 [अनु॰ १८०] editorial_bracket
parent ligne 4
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4 अस्यार्थः - अन्यां जातिं परिहरन् स्वजातिकुलभूषितं स्वमूलं तु संगृह्णिति । main
via surya_layout
5 [४. भिन्नकैशिकः] section_header
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6 [अनुः १८१] editorial_bracket
parent ligne 5
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7 शुद्धस्य लक्षणं समग्रं भिन्नकैशिकस्यापि विद्यते । तर्हि को भेदः । गीतिकृतो भेदः main
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8 (कटी?गी) annotation_inline
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9 शुद्धकैशिको हि शुद्धगीत्या गीयते, भिन्नकैशिकस्तु भिन्नगीत्या गीयते। एतदुक्तं भवति - येन main
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10 स्वस्थानेन रागीयते शुद्धकैशिके न तेन स्वस्थानेन भित्रकैशिके रागीयत इति। लक्षणं चास्य यथा- main
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11 <b>(?)</b> annotation_inline
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12 (स्थं ?)संस्थानेन main
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13 •केन annotation_inline
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14 <b>ण्य</b>ने annotation_inline
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15 संस्थानेन annotation_inline
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16 शुद्धकैशिकवदूप[:] स्वरज्ञैर्धित्रकैशिक:। editorial_bracket
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17 षड्जांशः पञ्चमन्यासः सम्पूर्णः सप्तभिः स्वरैः ॥३११॥ main
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18 [अन्॰ १८२] editorial_bracket
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19 अस्यार्थ: - भित्रकैशिको मध्यमग्रामसम्बन्ध: कैशिकीकार्मारवीजात्युत्पत्रत्वात् । main
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20 ग्रहोंऽशश्च षड्जः । पञ्चमो न्यासः । निषादोऽत्र काकली । पूर्णश्चायम् । शुद्धैकेशिकवदयं यद्यपि रागः main
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21 उदयं(?) annotation_inline
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22 तथापि भेदोऽस्ति । मन्द्रबहुलोऽयम् । येन स्वस्थानेन शुद्धकैशिके स्वरालापः क्रियते, तत्स्वस्थानं main
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23 संस्थाने(न) annotation_inline
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24 विहाय तैरेव स्वरैरालाप: कर्तव्य:। शुद्धकैशिके हि तारस्वरैरालाप: कर्तव्य इति रूपान्यत्वेनायं main
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25 विभिन्नकैशिके annotation_inline
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26 (य) annotation_inline
parent ligne 24
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27 भिद्यते । दानवीरे चास्य विनियोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । main
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28 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला,चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
29 [श्रुतिभिन्नः] section_header
via surya_layout
30 साम्प्रतं श्रुतिभिन्नस्य लक्षणमाह - main
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31 भिन्नतानस्य annotation_inline
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32 ६०चतु:श्रुतिस्वरो यत्र भिन्नो द्विश्रुतिकेन तु । main
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33 गान्धारो द्विश्रुतिश्चैव श्रुतिभिन्न: स उच्यते ॥ ३१२॥ main
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34 (आधा ? गान्या)रो annotation_inline
parent ligne 33
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vol_I_p013 LEFT — 37 lignes

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1 8 page_number
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2 BRHADDESI page_header
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3 नकारः प्राण इत्याहुर्दकारश्चानलो भतः । main
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4 %र annotation_inline
parent ligne 3
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5 नादस्य द्विपदार्थोऽयं समीचीनो मयोदितः ॥२०॥ main
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6 10हि annotation_inline
parent ligne 5
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7 ग्गनादोऽयं नदतेर्धातोः स च पञ्चविधो भवेत् । main
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8 <sup>12</sup>सूक्ष्मश्चैवातिसूक्ष्मश्च व्यक्तोऽव्यक्तश्च कृत्रिमः ॥२१॥ main
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9 सूक्ष्मो नादो गुहावासी हृदये चातिसूक्ष्मकः main
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10 कण्ठमध्ये स्थितो । ३२॥ main
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11 ॰क्तः अ॰ annotation_inline
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12 1471: annotation_inline
parent ligne 10
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13 कृत्रिमो मुखदेशे तु ज्ञेयः पञ्चविद्यो बुधैः। main
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14 इति तावन्मया प्रोक्ता नादोत्पत्तिर्मनोहरा ॥२३॥ main
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15 ।। इति नादोत्पत्तिः annotation_inline
parent ligne 14
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16 П main
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17 III [ श्रुति-प्रकरणम् ] section_header
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18 [ तत्र श्रुतिलक्षणम्, तत्संख्या च ] section_header
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19 --------------------------------------- unknown
via fallback
20 इदानी तु प्रवक्ष्यामि श्रुतीनां च विनिश्चयम् । main
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21 श्रु श्रवणे चास्य धातोः क्ति [ न् ] प्रत्ययसमुद्भवः ॥ editorial_bracket
parent ligne 20
via heuristic_brackets
22 <sup>1</sup> अवणार्पस्य धातोः क्तिन्प्रत्यये च सुसक्रिते ॥ main
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23 श्रुतिशब्दः प्रसाध्योऽयं शब्दज्ञैः य्कर्मसाधनः ॥२४॥ main
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24 नेर्मावः annotation_inline
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25 [ अनु. १ ] editorial_bracket
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26 श्र्यतः इति श्रुतिः । सा चैकाऽनेका वा । main
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27 न्त annotation_inline
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28 •तयः annotation_inline
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29 तत्रैकैव श्रुतिरिति । तद्यथा-श्तत्रादौ तावद्देहाग्निपवनसंयोगात् main
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30 <b>‘देहाकाश</b> annotation_inline
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31 पुरुषप्रयत्नप्रेरितो ध्वनिर्नाभेरूध्वमाकाशदेशमाक्रामन् धूमवत् main
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32 नामेरूध्वकार unknown
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33 र्घ annotation_inline
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34 ₹ annotation_inline
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35 सोपानपदक्रमेण पवनेच्छयाऽनेकधाऽऽरोह्नन्नर्न्यूतपूरणप्रत्ययार्थतया unknown
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36 🛥 "पदावस्थान - annotation_inline
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37 - भाइह् रोइद्स्तर्भृत प्रातिनिपार्याखतया (?) unknown
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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
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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_p155 RIGHT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARŠA</b> section_header
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2 (Annotations) main
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3 Chapter II section_header
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4 (Jātis) section_header
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5 1. The number 140 pertains to the modified varieties of jātis comprising main
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6 the complete, hexatonic and pentatonic formations of jātis in accordance main
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7 with each of the amsa svaras assigned to each of the eighteen jātis. This main
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8 number is computed as follows - main
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9 The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63 main
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10 complete varieties of jātis. Out of these 63, there are 16 amsas that do not main
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11 permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math> main
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12 that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math> main
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13 <math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163; main
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14 the treatment is incomplete because of a break in the text. main
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15 Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by main
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16 adding the śuddhā states of the seven jātis bearing svara-names. main
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17 2. Brahmā has been said here to be the original author of the number main
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18 of jātis in NS, from where we have taken the verse under reference. In NS, main
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19 Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have main
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20 added only dance to theatre. As between Brahmā and Šiva, the former is said main
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21 to be responsible for all the elaboration based on vāk. The origin of all the main
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22 Vedas is also attributed to him. Siva has special relationship with the main
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23 movements of the body (anga). Jāti being the first formation of melodic main
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24 structure, its association with Brahmā is understandable because melody is main
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25 a manifestation of the tonal aspect of vāk. main
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26 Abhi Bhā explains the reference to Brahmā in the text of NS, main
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27 (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by main
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28 knowledgeable and trustworthy authorities cannot be wrong. The fact that main
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29 no less than Brahmā is the authority regarding the jātis lends a special main
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30 sanctity to this melodic abstraction that is striking on account of its main
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31 comprehensive sweep. main
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32 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains list_item
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33 it as "I shall throw light on the forms of jātis retained in my mind through the list_item
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34 description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide list_item
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35 Abhi Bhā on NS XXVIII. 39, p.36). list_item
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36 4. The alteration in respect of amsa i.e using an amsa other than that list_item
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175 lignes a valider — change uniquement les roles incorrects.