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 21439). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p109 RIGHT — 41 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 [Chapter V] section_header
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2 [Desī rāgas] section_header
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3 [Propitiation] section_header
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4 I make obeisance to the Devīl who bears a red hue like that of the bandhūka main
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5 (flower), has three eyes, wears a crest of the kalā (part) of the one having rays main
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6 of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight main
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7 of breasts that are becoming plump and elevated, is conventionally associated main
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8 with the begininning of youth, is adorned with all ornaments, has abode in main
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9 the lotus, whose body bears association with the citron fruit, whose (two) main
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10 hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands main
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11 are held in the abhaya (granting of freedom from fear) and vara (granting main
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12 of boons) gestures and who is the yoni (origin, birth-place) of the universe. main
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13 (345) annotation_inline
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14 [Threefold desi ragās] section_header
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15 After this I shall speak of the group of desī rāgas, which embodies the main
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16 combination of practice (laksya) and theory (laksana) and is threefold4; viz. main
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17 rāgānga, bhāṣānga and kriyānga as the third one. main
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18 (346, 347) annotation_inline
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19 I shall speak of the description of each of them one after another. main
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20 (348) annotation_inline
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21 All rāgāngas are so called by the experts in music because they bear only main
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22 a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of. main
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23 (349) annotation_inline
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24 Bhāṣāṅgas are so called by the singers devoted to the rendering of main
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25 panegyrics because they are based on the reflection or shadow (châyā) of main
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26 bhāṣās<sup>7</sup> and hence become similar to the same (bhāṣās). main
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27 (350) annotation_inline
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28 Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of main
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29 rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like. main
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30 (351) annotation_inline
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31 The set of regulations prescribed earlier for the mārga-rāgas, could main
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32 sometimes become otherwise in desī-rāgas, bhāṣās and the like. main
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33 (352) annotation_inline
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34 [Bhāṣāṅgarāgas<sup>10</sup>] editorial_bracket
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35 [1. Kacchelli] section_header
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36 Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa, main
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37 has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid main
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38 of ga-dha (gāndhāra-dhaivata) and should be known to have profuse main
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39 movement of pa-ri (pañcama-ṛṣabha). main
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40 (353) annotation_inline
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41 (vide) annotation_inline
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vol_II_p111 LEFT — 30 lignes

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1 [ षष्ठोऽध्याय: ] section_header
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2 [प्रबन्धाः] section_header
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3 [तत्र प्रबन्धानामुद्देश:] section_header
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4 देशिकारप्रबन्धा ये हरवक्त्राभिनिर्गता: । main
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5 •प्रवन्धोऽयं(?) annotation_inline
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6 असंख्यातास्तु कथिता न ज्ञायन्तेऽल्पबुद्धिभि: ॥ ३६०॥ main
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7 तेषां मध्यात् समुद्धृत्य युक्तलक्षणलक्षितान् । main
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8 श्रीमतङ्गमुनि: प्राह मुनीनुद्दिश्य तद्यथा ॥ ३६१॥ main
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9 ९आद्य: प्रबन्ध: कन्दाख्यो वृत्तो नाम द्वितीयक: । main
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10 क(जा?न्दा) वृत्ता annotation_inline
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11 गद्यरूपस्तृतीय: स्याद् दण्डक: स्याच्चतुर्थक: ॥ ३६२॥ main
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12 पञ्चमो वर्णक: ख्यात: षष्ठ आर्याभिधानक:। main
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13 ॰पिधायक: annotation_inline
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14 सप्तमी कथिता गाथा ततो द्विपथकोऽष्टमः ॥ ३६३॥ main
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15 कर्शिता annotation_inline
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16 <sup>२</sup>पद्धडीं नवमीं प्राहुरडिला दशमी भवेत् । main
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17 क्धंटीं annotation_inline
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18 एकादशमिते स्थाने गदिता सा चतुष्पदी ॥ ३६४॥ main
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19 न्मये स्थाते annotation_inline
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20 दोधको द्वादश: प्रोक्तस्तोटक: स्यात् त्रयोदश[:]। editorial_bracket
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21 दोधको annotation_inline
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22 ततश्चतुर्दशो ज्ञेयो वस्त्वाख्यस्तु प्रबन्धक: ॥ ३६५॥ main
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23 ॰र्द(शा?शो) annotation_inline
parent ligne 22
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24 ततः क्रौञ्चपदस्तूर्ध्वं हंसपात् षोडशः स्मृतः। main
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25 सप्तदश: प्रबन्धस्तु शुकसारिकसंज्ञक: ॥ ३६६॥ main
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26 अष्टादशश्चाश्वलील एकोनो गजलीलक:। main
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27 ॰श्मलीला annotation_inline
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28 दश ॰ annotation_inline
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29 विंशश्च स्यात् सिंहलील: शरभलील एकोत्तर: ॥ ३६७॥ main
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30 द्वाविंशतिम: annotation_inline
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vol_II_p049 RIGHT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 81 page_number
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2 TRANSLATION page_header
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3 [The opinion of Bharata] section_header
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4 "The first one should be known as māgadhī and the second one as main
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5 ardhamāgadhī, sambhāvitā is the third one and the fourth is known as pṛthulā." main
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6 (NŚ Chau. XXIX. 77) main
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7 [Thus ends the opinion of Bharata] section_header
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8 [The opinion of Yāṣṭika] section_header
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9 Bhāṣā and vibhāṣā and similarly antarabhāṣā are the three gītis spoken of by main
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10 the noble Yāstika. annotation_inline
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11 (272) main
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12 Thus ends the opinion of Yāṣṭika. section_header
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13 [ The opinion of Kasyapa and Śārdūla] section_header
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14 Bhāṣāgīti and vibhāṣā have been spoken of even by Kaśyapa. Similarly, main
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15 bhāṣāgīti alone is accepted in the opinion of Śārdūla. main
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16 (273) main
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17 [ The description of gītis] section_header
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18 Now I shall speak of the proper definition of giti. main
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19 (274) main
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20 [1. Šuddhā gīti] section_header
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21 The cokṣa (suddhā) gīti is spoken of as being complete (pūrṇa) with mandra main
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22 (low), amandra (not low, medium), tāra (high)straight, attractive, equal main
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23 svaras and śrutis. annotation_inline
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24 (275) main
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25 [2. Bhinnāgīti] section_header
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26 Bhinnā gīti is said to be with sūkṣma<sup>14</sup> (short in time), mobile, curved, main
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27 ullāsita (made to shine upwards), prasārita (spread out), attractive, high and main
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28 low (svaras). annotation_inline
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29 (276) main
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vol_II_p067 RIGHT — 34 lignes

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1 117 page_number
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2 TRANSLATION page_header
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3 [Anu. 200] editorial_bracket
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4 This means - Mālavakaišika is related to madhyamagrāma on account of main
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5 being born of kaiśikī jāti. Ṣadja is the graha, aniśa and nyāsa. There is the main
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6 sparseness of dhaivata here. In usage, niṣāda is kākalī here and this (rāga) is main
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7 complete in svaras. Its application is prescribed in vipralambha-śṛṅgāra (love in separation). Vīra<sup>74</sup> and the main
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8 with sadja obtains. Ārohin is the varņa. Prasannamadhyama is the alankāra. main
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9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [The assignment of gramas to vesararagas] section_header
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13 Now the particular grāma of each one of the vesara (rāgas) is being shown - main
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14 Ţakkarāga, similarly sauvīra, ṭakkakaišika, boṭṭarāga and vesara-ṣāḍava are in the main
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15 one (grāma) called sadja. annotation_inline
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16 (329) annotation_inline
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17 Hindolaka, mālavapancama and mālavakaišika should be known to be born main
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18 of madhyamagrāma. annotation_inline
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19 (330) annotation_inline
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20 Thus have all the vesara(rāgas) been spoken of with their definitive main
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21 descriptions. They are known as vega-svaras 75 because the speed of svaras is main
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22 seen in them. annotation_inline
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23 (331) annotation_inline
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24 [ E. Sādhāraņa rāgas] section_header
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25 The śuddha, bhinna, gauḍa and similarly vegasvara (rāgas) have been spoken main
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26 of. Now I will speak of the seven sādhāraņa ones. main
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27 (332) annotation_inline
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28 [Anu. 201] editorial_bracket
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29 (Contention) Howdoes the sidhāraṇatva (commonness) of sādhāraṇa (rāgas) main
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30 come about? It is being answered. On account of being born of the gitis main
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31 pertaining to all the ragas that have been spoken of heretofore, there is their main
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32 sādhāraņatva (commonness); this comes about on account of their being sung in main
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33 the sādhāraṇa-giti. Similarly has said Kasyapa- main
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34 "Seven sādhāraņa (rāgas) have been said to be based in all the gitis." main
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vol_II_p136 RIGHT — 53 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 PĂŢĦAVIMARŚA page_header
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2 255 page_number
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3 170. Ibid.adds asyāḥ before ‘prastāraḥ’. list_item
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4 171. Reading in SR I. 7. 94. list_item
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5 172. SR I. 7. p. 242 adds 'raktagāndhāryām 'after 'asyām'. list_item
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6 173. Ibid.adds 'asyāḥ 'before 'prastāraḥ'. list_item
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7 174. SR I. 7. p. 245 adds ‘gāndhārapañcamyāṁ ’ after ‘ asyāṁ ’. list_item
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8 175. Ibid.adds ‘asyāḥ ’before ‘ prastāraḥ’. list_item
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9 176. SR. I. 7. p. 253 adds 'madhyamodīcyavāyām' after 'asyām'. list_item
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10 177. Ibid.adds ' asyāḥ ' before ' prastāraḥ '. list_item
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11 178. SR 1. 7. p. 253 adds ‘ kārmāravyāṁ ’ after ‘ asyāṁ ’. list_item
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12 179. Ibid.adds ‘ asyāḥ ’ before ‘ prastāraḥ ’. list_item
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13 180. SR1. 7.104 reads ‘sūribhiḥ’ but SRĀ I.7.103 reads ‘sū (bhū) ribhiḥ’. list_item
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14 181. SR 1.7. p.257 adds ‘gāndhārapañcamyām’ after ‘asyām’. list_item
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15 182. Ibid.adds ‘ asyāḥ ’ before ‘prastāraḥ ’. list_item
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16 183. Reading in SR I. 7. 105. list_item
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17 184. Reading in SR I.7.106. list_item
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18 185. Reading in SR 1.7.106; SRĀ 1.7.106 and Sudhā on the same, p. list_item
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19 260 read 'tāla' which fits the context. list_item
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20 186. SR I. 7, p.261 adds 'āndhryam' after 'asyām'. list_item
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21 187. Ibid.adds ' asyāḥ ' before ' prastāraḥ '. list_item
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22 188. Reading in SR I. 7.109. list_item
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23 189. SR I. 7, p. 264 adds ‘ nandayantyām’ after ‘ asyām’. list_item
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24 190. Ibid.adds asyāḥ before prastāraḥ. list_item
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25 191. P.t. adds 'sa' or 'ma' after each jātiprastāra in this interpolated list_item
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26 portion; the significance is not clear. list_item
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27 192. The jātis described in this interpolated portion do not complete list_item
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28 the number eighteen because of two repetitions as follows- list_item
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29 Jätis left out table
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30 Jātis described in the table
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31 Jātis described table
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32 interpolated portion table
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33 in the prose portion table
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34 1. Madhyamā table
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35 1.Şadjamadhyamā table
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36 1. Şādjī table
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37 2. Pañcami table
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38 2. Gändhärodicyavā table
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39 2. Arşabhī table
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40 3. Raktagāndhārī table
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41 3. Dhaivatī table
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42 4. Kaišikī table
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43 4. Naisādī table
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44 5. Madhyamodicyavā table
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45 5. Şadjakaisikī table
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46 6. Kārmāravī table
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47 6. Şadjodicyavā table
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48 7. Gändhärapañcamī table
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49 7.Şadjamadlıyrunā table
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50 8. Āndhrī table
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51 8. Gändhäri table
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52 9. Nandayanti table
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53 9. Raktagāndhārī table
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187 lignes a valider — change uniquement les roles incorrects.