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 21462). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p034 LEFT — 31 lignes

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1 BRHADDEŚI page_header
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2 50 page_number
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3 V [ ग्राममूर्छनाप्रकरणम् ] section_header
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4 [ अनु. ३० ] editorial_bracket
parent ligne 3
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5 अथ किमुच्यते ग्रामशब्देन ? ननु कति ग्रामा भवन्ति ? main
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6 कस्मादुत्पद्यते ग्रामः कि वा तस्य प्रयोजनम्।।८४॥ main
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7 अश्रोच्यते— unknown
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8 म्समूहवाचिनौ ग्रामौ स्वरश्रुत्यादिसंयुतौ ॥८५॥ main
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9 यथा कुटुम्बिनः सर्व एकीभूत्वा वसन्ति हि। main
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10 ₀ता² annotation_inline
parent ligne 9
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11 सर्वलोकेषु स ग्रामो यत्र नित्यं व्यवस्थितिः ।।८६॥ main
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12 ₄तः annotation_inline
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13 षड्जमध्यमसंज्ञौ तु द्वौ ग्रामौ विश्रुतौ किल। main
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14 गान्धारं नारदो बूते स तु मर्त्यैर्न गीयते॥८७॥ main
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15 सामवेदात् स्वरा जाताः स्वरभ्यो ग्रामसम्भवः। main
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16 द्वावेतौ च इमौ ज्ञेयौ षड्जमध्यमलक्षितौ॥८८॥ main
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17 [ अनु. ३१ ] editorial_bracket
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18 प्रयोजनं च यथा—स्वरश्रुतिमूर्छना—तानजातिरागाणां व्यवस्थापनत्वं main
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19 o404 annotation_inline
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20 नाम प्रयोजनम्। main
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21 [ अनु. ३२ ] editorial_bracket
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22 ननु कथं षड्जमध्यमस्वराभ्यां ग्रामण्यपदेशः ? उच्यते—असाधारणत्वेन ताभ्यां main
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23 ग्रामण्यपदेशः। असाधारणत्वं च देवकुलसमुत्पन्नत्वेन। main
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24 ₀लोत्पन्न,<sup>5</sup> annotation_inline
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25 तथा चाह नारदः – main
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26 "देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः। main
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27 एतेपां देवता जेया ब्रह्माविष्णुमहेश्वराः॥ "6 main
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28 उभयोग्रामियोर्मध्ये मुख्यत्वं कस्य गम्यते। main
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29 ुण्युः annotation_inline
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30 षड्जस्यैव हि मुख्यत्वं गम्यते वचनान्भुनेः॥८९॥ main
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31 __ु•वाह्रि च __ 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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vol_II_p059 RIGHT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 101 page_number
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2 TRANSLATION page_header
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3 [Anu. 180] editorial_bracket
parent ligne 4
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4 This means-leaving the other jāti and taking up its own root i.e. bedecked main
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5 with its own jāti and kula (is formed the śuddhabhinna).54 main
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6 [4. Bhinnakaisika] section_header
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7 [Anu. 181] editorial_bracket
parent ligne 6
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8 The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. main
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9 What is then the difference? The difference is formed by gīti. Śuddhakaiśika main
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10 is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung main
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11 This is being said - annotation_inline
parent ligne 10
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12 The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in main
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13 śuddhakaiśika, the rāga is not elaborated with the same svasthāna in main
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14 bhinnakaisika. And its description is thus - main
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15 Bhinnakaiśika is known by the knowledgeable ones in svara to have a form main
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16 similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa main
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17 (and) is complete with the seven svaras. main
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18 (311) annotation_inline
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19 [Anu. 182] editorial_bracket
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20 This means - bhinnakaiśika is related to madhyamagrāma on account of being main
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21 born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the main
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22 nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like main
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23 śuddhakaiśika, yet there is a difference. This has abundance of mandra (low main
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24 notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in main
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25 śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that main
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26 svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and main
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27 thus it becomes distinct on account of difference in form. Its application is main
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28 prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. main
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29 The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is main
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30 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains main
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32 in the songs comprised of svara and pada. main
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33 (Śruti-bhinna) section_header
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34 Now he (the author) has spoken of the definition of śruti-bhinna - main
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35 Where the svara comprised of four śrutis is modified by the one comprised of two main
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36 śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. main
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37 (312) annotation_inline
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vol_I_p041 LEFT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDESI</b> page_header
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2 64 page_number
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3 सरि 🗶 म प ध 🗶 main
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4 [ ४ सरि ४ म प ध ] editorial_bracket
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5 ध 🗶 स रि 🗶 म प main
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6 पध X स रि X म annotation_inline
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7 मपध X स रि X main
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8 [ хमपध editorial_bracket
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9 निगहीनाः। main
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10 रि 🗶 म प ध 🗶 स unknown
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11 स 🗙 गम 🗶 ध नि main
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12 निस X ग म X ध annotation_inline
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13 धनिस X गम X main
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14 [хधनसхगम]. editorial_bracket
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15 म 🗶 ध नि स 🗶 ग main
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16 गम 🗶 ध नि स 🗶 annotation_inline
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17 परिहीनाः। इत्यौडुवाः। योगाः। main
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18 [ 🗶 गम 🗶 ध निस ] editorial_bracket
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19 [ अथ ] मध्यमग्रामे-- editorial_bracket
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20 ٠ page_number
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21 मपधनि X रिग main
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22 गमपधनि 🗙 रि annotation_inline
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23 रिगमपधनि X main
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24 [ x रिगमपधनि ] editorial_bracket
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25 नि X रिगमपध main
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26 ध नि x रिगम प annotation_inline
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27 षड्जहीनाः। main
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28 प ध नि X रि ग म unknown
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29 म प ध नि स X ग main
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30 गमपधनिस X annotation_inline
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31 [ Xगमपधनिस] editorial_bracket
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32 स X गमप ध नि main
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33 निस X गम प ध annotation_inline
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34 ध निस X गमप main
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35 ारहानाः। annotation_inline
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36 प ध नि स 🗶 ग म main
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vol_II_p068 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 119 page_number
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2 <b>TRANSLATION</b> page_header
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3 [Anu. 202] editorial_bracket
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4 (Contention) Why has Kasyapa Muni described narta-rāga in the main
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5 beginning? It is being answered. In the opinion of Kasyapa its prominence main
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6 is due to its application in passionate performance of caris, mandalas and main
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7 situations of combat. In the opinion of Durgaśakti, on the other hand, main
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8 sadjakaisika alone is prominent. Why? On account of its falling under the main
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9 order of the state of sādava (rāga).76 That is thus - main
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10 [1. Narta-rāga] section_header
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11 Having pañcama as its amśa and madhyama as its concluding note, being main
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12 born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat main
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13 as sparse the svaras comprised of two śrutis each. main
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14 (333) annotation_inline
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15 [Anu. 203] editorial_bracket
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16 Its meaning is thus - narta-rāga is related to madhyamagrāma on account of main
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17 being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, main
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18 madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is main
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19 kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the lik main
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20 mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alankāra. main
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21 Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. main
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22 [Anu. 204] editorial_bracket
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23 In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī main
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24 jātis. It should be known to be related to şadjagrāma itself. Why? On account main
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25 of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is main
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26 related to şadjagrāma. annotation_inline
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27 [2. Saka] section_header
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28 That is said to be śaka which has a weak pañcama, is combined with ṣaḍja main
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29 as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. main
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30 (334) annotation_inline
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31 [Anu. 205] editorial_bracket
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32 Its meaning is thus - śaka is related to şadjagrāma on account of being born main
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33 of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and nyāsa. There is the main
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34 sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And main
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35 this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta main
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192 lignes a valider — change uniquement les roles incorrects.