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 21471). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 BRHADDEŠĪ page_header
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2 34 page_number
via heuristic_pagenum
3 पूर्वरङ्गे कृते शुद्धा[:] कर्तव्या गीतयोक्तृभि:। editorial_bracket
parent ligne 4
via heuristic_brackets
4 आसारितपाणिकादौ ततो जात्यंशकल्पनम् ॥२४९॥ main
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5 र्गद annotation_inline
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6 <b>ल्कं</b> वा॰ annotation_inline
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7 स्वराणामङ्गहारैर्यत एवासारितक्रमै:। main
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8 वर्धमानपदे तासां कार्या स्यादंशकल्पना ॥२५०॥ main
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9 [८. जातीनां षाडवौडुवविधि:] section_header
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10 ८९इति त्रिषष्टिरंशा ये तेषामेकैकशोंऽशताम् । main
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11 प्रकल्प्यापोह्यते प्राप्तं षाडवौडुवितं क्वचित् ॥२५१॥ main
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12 (॰वो?वौ) annotation_inline
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13 ॰पोद्यते annotation_inline
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14 [अनु॰ १३४] editorial_bracket
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15 त्रिषष्टिरंशा ये उक्तास्तेषां मध्ये <sup>९०</sup>प्रत्येकमंशानाम् [अंशतां] editorial_bracket
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16 परिकल्प्य annotation_inline
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17 षाडवितत्वमौडुवितत्वं प्राप्तं क्वचिदिति जातिविषय: अपोह्यते । एतदेव स्फुटयति - main
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18 न्छते annotation_inline
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19 अषाडवा निषादें ऽशे सित स्यात् षड्जमध्यमा । main
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20 गान्धारे च यतो लोपो नांशसंवादिनो मत: ॥२५२॥ main
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21 (तं?त:) annotation_inline
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22 [अनु॰ १३५] editorial_bracket
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23 अस्यार्थ: - निषादेंऽशे षड्जमध्या जातिरषाडवा कथम् ? षड्जग्रामे षाडविवधौ main
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24 गान्धारस्य लोपो नास्ति । गान्धारेंऽशे निषादेन अषाडवा बोद्धव्या अंशसंवादिनो main
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25 (संचा?संवा) annotation_inline
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26 ...याः annotation_inline
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27 लोपाभावात्। section_header
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28 कैशिकी रक्तगान्धारी गान्धारी चैव पञ्चमे । main
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29 तथा षाड्जी तु गान्धारे धैवते तदुदीच्यवा ॥ २५३॥ main
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30 ॰ता तदा॰ annotation_inline
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1 BRHADDEŚĪ page_header
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2 114 page_number
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3 [अनु॰ १९८] section_header
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4 षड्जोऽस्य ग्रहोंऽशो न्यासश्च । निषादोऽत्र काकली । धैवतर्षभहीनमौडुवितम् । main
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5 धैवत ऋषभहीन( ध ?)मौडवितम् annotation_inline
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6 <sup>८२</sup>सम्भोगशृङ्गारेऽस्य विनियोग:। वीरादिरस:। मूर्छना षड्जादि:। वर्ण आरोही। main
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7 ॰ना(दि) annotation_inline
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8 प्रसन्नादिरलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल । main
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9 [७. टक्ककेशिक:] section_header
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10 धैवतांशस्तदन्तश्च स्वल्पद्विश्रुतिकस्वर: । main
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11 धैवतीमध्यमाजात्यो: सञ्जातष्टक्ककैशिक: ॥३२६॥ main
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12 ॰एक annotation_inline
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13 [अनु॰ १९९] section_header
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14 धैवतीमध्यमाजात्योर्जातत्वाट्टक्ककेशिक: षड्जग्रामसम्बन्ध:। <sup>८३</sup>ननु उभयग्रामसम्बन्धिन्यो- main
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15 (यस्याज? ठमय) annotation_inline
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16 र्जात्योः समुत्पन्नोऽयं गगः षड्जग्रामसम्बन्ध इति कथं वक्तुं युक्तम् ? अस्य प्रयोगे चतुःश्रुतिसम्बन्धः main
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17 र्जा(न्यो?त्यो) annotation_inline
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18 (कथं) annotation_inline
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19 पञ्चम उपलभ्यते। पञ्चमधैवतौ द्विग्रामयोर्भेदकारिणौ अत: पञ्चमस्य चतु:श्रुतिकत्वात् । षङ्जग्रामसम्बन्ध main
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20 (पञ्चमे पैवतेन भिग्रामयोर्भेदकारिणौ ?) annotation_inline
parent ligne 19
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21 एवायं राग:। ग्रहोंऽशो न्यासश्च धैवत:। निषादगान्धारौ चात्र काकल्यन्तरौ। पूर्णस्वरश्चायम्। main
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22 <sup>८४</sup>कश्यपमते निषादगान्धारयोर्लोपादयमौडुवित: । उद्भटनाट्ये कामग्रस्ततत्कञ्चकिप्रवेशे चास्य main
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23 विनियोग:। बीभत्सादिरस: । धैवतादिमूर्छना। आरोही वर्ण:। दक्षिणे कला, वार्तिके कला, चित्रे main
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24 मध्यमादिधैवता(?) annotation_inline
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25 कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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26 [८. मालवकैशिक:] section_header
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27 ८५कैशिकीजातिसम्भूतः षड्जांशन्याससंयुतः । main
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28 दुर्बलो धैवतेन स्याद् रागो मालवकैशिक: ॥ ३२७॥ main
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29 <sup>८६</sup>पञ्चमं केचिदिच्छन्ति चास्य वै न्यासकर्मणि । main
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30 हात्याद्याः + कर्मणि annotation_inline
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31 गान्धारं च तथा चान्ये तद्धि लक्ष्ये न दृश्यते ॥ ३२८॥ main
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vol_II_p082 RIGHT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 147 page_number
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3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
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4 in music. annotation_inline
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5 <math>(56-57)</math> main
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6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
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7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
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8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
parent ligne 7
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9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
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10 always complete, has madhyama as amśa and sadja as the concluding note, main
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11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
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12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
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14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
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15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
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16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
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17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
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18 concluding note, is embellished with the svara gandhara, has the combination main
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19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
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20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
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21 (59) annotation_inline
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22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
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23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
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24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
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25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
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26 (60) page_footer
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1 ŀ annotation_inline
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2 PATHAVIMARŚA page_header
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3 291 page_number
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4 दस्रवेदास्तृतीयेऽङ्ग्री .....। section_header
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5 Ibid. 158. main
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6 39. Mānaso IV.16. 508, SR IV.108 and S Rāj II.4.2.165 read bhogavatī in list_item
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7 the place of hemavatī. list_item
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8 40. Reconstruction based on probable meaning and proximity to list_item
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9 p.t. list_item
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10 41. Reconstruction based on the uddeśa (enumeration) given in verse list_item
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11 449 of our text. list_item
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12 42. The ed. has suggested 'yamaka' in the place of 'gamaka', taking list_item
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13 'alankāra' as standing for śabdālankāra in poetry, but here the context list_item
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14 demands the melodic alankāra and gamaka is a corollary of the same. list_item
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15 43. Our reconstruction as 'gamaka' in the place of 'yamaka' of p.t. is list_item
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16 corroborated by Mānaso IV.16. 505. list_item
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17 44. Śārngadeva (SR IV.112c, 113) refers to these seven varieties as list_item
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18 having been spoken of by Matanga, but says that they are not described by list_item
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19 him because their distinctive nature lies only in the difference caused by yati list_item
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20 (splitting or pause). list_item
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21 P.t. adds the following two verses after this, which are out of place - main
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22 लोकदुष्टं शास्त्र शास्त्र पञ्च वर्जयेत्। main
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23 + गोदुष्टं (?) तथा ग्राम्यं गतक्रममपार्थकम् ॥४८५॥ main
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24 पदं काप्यमसन्दिग्धं कला चाभ्यश्चि भक्तकम् । main
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25 प्राकारेण तताश्चोका वर्णे तालचतुष्टयम् ॥ ४८६॥ main
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26 We have given a reconstructed version at the end of this chapter as verse 490 main
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27 (three lines). annotation_inline
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28 45. Reconstruction based on SR IV.127a. main
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29 46. cf. गमकप्रासिनमुक्ता एला स्याद गौडदेशजा। main
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30 SR IV.127 cd. annotation_inline
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31 ानाप्रयोगरागांशरसभावोत्कटाऽऽन्धिका । main
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32 47. cf. annotation_inline
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33 भूरिभावरसोत्कर्षा द्राविडी प्रासवर्जिता ॥ main
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34 Ibid. 128. annotation_inline
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35 48. cf. मातृकाक्षरमेकैकं पदादौ विनियोज्य च। main
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36 Mānaso IV.16.310. annotation_inline
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37 49. cf. उद्ग्राहो ध्रुवकश्चेति यत्र खण्डद्वयं भवेत्। main
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38 Ibid. 431. main
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39 1 page_number
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40 50. cf. करणं करपाटेन तालेन किल गीयते । main
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41 Sam Sa Sā V.137. annotation_inline
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42 51. cf. हस्तपाटैस्तथा तेनपदस्वरसमन्वित: । main
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43 गीयते तालयुक्तो य: स वर्णस्वरको भवेत् ॥ main
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44 Mānaso IV.16.437. main
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1 143 page_number
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2 TRANSLATION page_header
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3 This saindhavī has madhyama as its amśa, ṣadja as its concluding note, is main
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4 Gamāgāmāsādhāsārīmāmāmāsā main
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5 Gārimāmāmā. annotation_inline
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6 Dhānisā. annotation_inline
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7 rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā main
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8 gāmāmāmāsāsā. Saindhavī [viii] editorial_bracket
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9 brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of main
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10 şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional main
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11 bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. main
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12 <math>(47-48)</math> annotation_inline
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13 Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. main
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14 Combined with sadja as the initial and concluding note, being devoid of main
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15 pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the main
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16 performers. The mutual movement of dhaivata-niṣāda and ṣadja-dhaivata is main
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17 seen from moment to moment. annotation_inline
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18 <math>(49-50)</math> annotation_inline
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19 Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. main
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20 Vesarikā [ix] editorial_bracket
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21 Having pañcama as amsa and şadja as the concluding note, being main
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22 complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. main
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23 There is concert 19 between pañcama-ṛṣabha and similarly between ṣadja- main
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24 madhyama annotation_inline
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25 (51) annotation_inline
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26 Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri main
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27 Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. main
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28 Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] editorial_bracket
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29 Having middle and lower registers (as its range), şadja as its concluding main
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30 note, gāndhāra as amśa and the seventh (niṣāda) as sparse, the bhāṣā, main
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31 ravicandrikā, should be known to be sankīrņā (mixed). It should be so main
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162 lignes a valider — change uniquement les roles incorrects.