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 21553). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p079 LEFT — 43 lignes

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1 BRHADDEŚI page_header
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2 140 page_number
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3 72,73 C.r. in S R I Kalā, p. 104. main
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4 74. P.t; our reconstruction is nearer P.t. main
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5 75. cf. (i) मध्यमस्वरेण तु वैणेन मूर्छनानिर्देशो भवत्यनाशित्वात् मध्यमस्वरस्य निग्रहः प्रवेशो वा। main
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6 ( NS Chau, p. 321 ) annotation_inline
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7 (ii) मध्यमस्वरेणेव तु मूर्छनानिर्देशः कार्यो भवति अनाशित्वान्मध्यमस्य निग्रहे पर्यग्रहे वा। main
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8 ( NŚ XXVIII, p. 27) annotation_inline
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9 76. Reconstruction based on Abhi Bhā on NS XXVIII, p. 28, reading as - main
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10 चतुर्थस्वर एव कण्ठ्यो मध्यमा ( मोऽ ) त्रेत्यपरे। main
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11 Brahaspati has interpreted 'karnye' as the 'fundamental note' that is main
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12 constantly heard in the drone. But 'kanthya' seems to be more appropriate, main
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13 because kantha (lit. throat) is the location of the middle register in the human main
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14 body. annotation_inline
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15 77. Reconstruction based on the reading of Dattilam 37. main
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16 78. cf. (i) नन् प्रथमाया सप्तम्या च मूर्छनाया षड्जलुप्ते रिगमपधनिरूप भवतीति तत्र को विशेषः। सत्यं main
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17 भेदो नास्ति, परन्तु मन्द्रतारकृतो भेदो विद्यत एव। main
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18 (C.r. in S R I Sudhā, p. 117) main
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19 (ii) ननु प्रथमाया सप्तम्या च मूर्छनाया पहजे न्तुप्ते रिगमपधनिरूप भवतीति दुर्जातो विशेषः। सत्य main
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20 लेख्यभेदो नास्ति। annotation_inline
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21 ( Abhi Bhā on XXVIII, p. 28 ) main
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22 79. cf. (i) इद च प्रयोक्त्श्रोतृसुसार्य च मूर्धनानानात्वम्। मूर्धनातानप्रयोजनमपि स्थानप्राप्त्यर्थम्। main
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23 ( NŠ XXVIII, p. 27 ) main
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24 (ii) प्रयोक्तुश्रोतृसुक्षार्थं तानमूर्छनातत्त्वम् । प्रयोजनमपि स्थानप्राप्तः । main
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25 ( NŠ Chau, p. 321 ) annotation_inline
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26 'Nānātvam' (variety) is associated with mūrchanā in NS, but in BrD the main
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27 reading mūrchanā-tānānyatvam suggests a distinction between mūrchanā and main
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28 tāna and it is in consonance with the preceding discussion in Anu. 45. main
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29 80. C.r. in S R I Sudhā, p. 117. main
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30 81. cf. ननु च मूर्धनास्तावत् जाञ्जति ( 0 ज्जाति ) ग्रह ( राग ) भाषावत्र प्रयोगोपयोगिन्यः, तानाश्च main
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31 कुतप ( कुत्र ) उपयुज्यन्ते, तानोक्तस्वरातिरिक्तानामपि जातिषु लोपा ( प्य ) भावाद् दृष्टत्वात्। main
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32 (Abhi Bhā XXVIII, p. 29) main
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33 ( Readings suggested in paranthesis ours ). main
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34 82. cf. ग्रामद्वयेऽपि तानाना पाडवीडवसजिनाम् । main
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35 नष्टोदिष्टविधानाय तत्सस्यामभिदध्यहे ॥ main
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36 (S. Rāj II, 1.1.424) main
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37 83. Reconstruction in the whole verse based on the reading in <i>Dattilam</i> 39. list_item
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38 84. ibid., <i>Dattilam</i> 40. list_item
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39 85. Reading suggested by the ed. list_item
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40 86. P.t. is utterly confused here. list_item
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41 87. cf. प्रयोजनमपि स्थानप्राप्तिः। स्थान तु त्रिविध पूर्वोक्तलक्षण काकुविधाने। list_item
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42 ( NŠ Chau, p. 321 ) main
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43 88. 'Sthāna' added on the basis of NS XXVIII, p. 27. main
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vol_II_p105 LEFT — 30 lignes

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1 BRHADDESĪ page_header
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2 192 page_number
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3 उदाहरणम् - मामपामा पापानिधाधा निपापानिपमा रिसानिधापामा सामाधानि धापापापा main
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4 सः annotation_inline
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5 सापानिगारिसा निनीसानिसानिधामा मानिधापापा । आन्ध्री । [५] editorial_bracket
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6 गान्धारांशा तु गान्धारी सम्पूर्णा पञ्चमान्तिमा । main
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7 विभाषा र॰सानुरो[हे च] गीयते मालपञ्चमे ॥ १९॥ editorial_bracket
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8 (?) मालवपञ्चमे annotation_inline
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9 सानुना annotation_inline
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10 उदाहरणम् - गागानिनिधा धाधानिरिरिगा पमागरि रिसनीसासा । धाधासाधानी । सागासा main
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11 निधापापा । गान्धारी । [६] editorial_bracket
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12 ॥ इति शार्दुलमते[मालव] पञ्चमभाषा: समाप्ता: ॥ editorial_bracket
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13 [४. अथ भित्रपड्जे] section_header
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14 त्रावणी षड्जभाषा च मालवी गुर्जरी तथा । main
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15 बाह्यषाडवकौसल्यौ गान्धारी स्वरविक्रता ॥ २०॥ main
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16 ॰(पौढकौसन्थ्ये ? पाडवकौसल्यौ) परवन्दिता annotation_inline
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17 लिलता निषादवती तुम्बुरुगिन्धारलिलता । main
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18 निषादवत्या च स्वरगान्धारवर्जिता annotation_inline
parent ligne 17
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19 [कलिङ्गा चैव शुद्धा च मध्यमा पार्वती तथा] ॥ २१॥ editorial_bracket
parent ligne 17
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20 देशाख्या त्रावणी चैव धैवतान्ताऽल्पषड्जिकारा॥ २२॥ main
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21 नीपोम्प च (?) गीयते annotation_inline
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22 उदाहरणम् - रिरिधाधाधनी नीधाधा । मधानिरिधा धानिनिसानिनि धाधानिधामाधा । निरिधा main
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23 धामधा धानि रिरिनिगामागाधा मारीसानिधानिधा निधामामधा निनिरिधाधा । त्रावणी । [१] editorial_bracket
parent ligne 22
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24 त्रीवणी annotation_inline
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25 धैवताद्यन्तसंयुक्ता मूलभाषा सदुर्बला<sup>२२</sup>। main
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26 तु दुर्बलम् annotation_inline
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27 देवताराधने गीता षड्जभाषा तु षट्स्वरा<sup>२३</sup> ॥ २३॥ main
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28 उदाहरणम् - धानिधाधा । सानिधाधा । समानिधा । मागागामा । निधाधा । गामागामा । main
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29 पा annotation_inline
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30 गमाधाधा । गरिसानिधा । पमामा । पामाधानी । धाधा । षड्जभाषा । [२] editorial_bracket
parent ligne 28
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vol_II_p045 RIGHT — 54 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 73 page_number
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2 TRANSLATION page_header
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3 (11) table
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4 ni ni ni ni ri ri ri ri table
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5 (12) table
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6 rĩ rĩ gã nĩ sã sã nĩ nĩ table
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7 (13) table
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8 pā pā mā gari gā gā gā gā table
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9 (14) table
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10 rī rī mā sama mā mā pā pā table
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11 (15) table
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12 mā mā nī nī sā rī gā pā table
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13 riga gã gã gã gã gã gã gã table
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14 (16) table
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15 Thus ends andhri. section_header
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16 [9. Nandayanti] section_header
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17 In nandayantī, pañcama is the amśa, gāndhāra is known to be the graha. main
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18 Pañcama is said to be the graha in this (jāti) by some knowledgeable ones in main
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19 gīta (melody). annotation_inline
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20 (23) main
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21 There is the abundance of the lower rṣabha. The hexatonic form comes main
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22 about with the omission of şadja. Hṛṣyakā is the mūrchanā. The tāla is as in main
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23 the previous one ( āndhrī / gāndhārapañcamī). The kalās are twice in main
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24 number. annotation_inline
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25 (24) main
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26 The application is (prescribed) in the singing of dhruvās in the first act. main
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27 (25) annotation_inline
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28 Gāndhārais the nyāsain this (jāti). Madhyama and pañcama are apanyāsas. main
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29 The <i>prastāra</i> is thus – main
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30 (1) table
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31 gā gā gā gā pā pā dhapa mā table
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32 (2) table
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33 dhā dhā dhā dhā dhā nī sani dhā table
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34 (3) table
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35 pā pā pā pā pā pā pā pā ` table
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36 (4) table
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37 dhā nī mā pā gā gā gā gā table
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38 (5) table
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39 mã rĩ gã gã gã gã gã gâ table
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40 (6) table
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41 mã mã pã pã dhã nidha pã pã table
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42 (7) table
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43 dhã nĩ mã pã gã gã gã gã table
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44 (8) table
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45 gama pā pā pā mā mā gā gā table
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46 (9) table
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47 dhā nī mā pā gā gā gā gā table
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48 (10) table
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49 mā mā mā mā mā mā mā mā table
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50 (11) table
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51 rī gā mā pā pama pā pā nī table
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52 (12) table
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53 rî rî rî rî pâ pâ mã mã table
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54 A . . . . . . . . . . . . . . . . . . . annotation_inline
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vol_II_p091 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 165 page_number
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3 Having ṛṣabha as amśa, pancama as the concluding note, it should be main
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4 known to be weak in sadja. It should always be performed with the kākalī main
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5 form of niṣāda. This vibhāṣā is known to be sādhāraṇakṛtā by the main
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6 knowledgeable ones in music. Āndhālī is well-known among the main
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7 people<sup>42</sup> and is the favourite of <i>Kinnaras</i>.<sup>43</sup> main
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8 <math>(97-98)</math> main
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9 Illustration - Rīmāpāpādhādhādhādhāpā dhādhāsāpāpāpādhāninipā main
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10 päsäpädhäpäpäpämarimaridhädhäpadhapasidhädhäpäpädhadhapadhapädhäpä main
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11 pāmāririsādhāpāpā pāmapadhamamāriridhādhapapāpa, Māmādhapapāpamama- main
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12 ririmapāpādha pāpāpadhapadhasīsīrigaridhapāpāpā, Andhālī [vii] editorial_bracket
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13 Having sparse <i>ṛṣabha</i>, <i>madhyama</i> as <i>aṁśa</i> , combined with <i>pañcama</i> as main
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14 nyāsa, there being concert between madhyama-dhaivata, abundance of main
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15 pañcama, being complete, this bhāṣā tānodbhavā comes of pañcama rāga. main
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16 (99) annotation_inline
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17 Illustration-Māmāmagāsāririnisāgari.Sāninigāgāgasānīpāpā pāsānisāsāsāni main
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18 saninidhadhaninisāgarisāsāsāninisādhānipāpā dhānīnīgāga sāsāsāsāgā main
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19 sānīdhāmāpā pā. Tānodbhavā [viii] editorial_bracket
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20 Trāvaņī has pañcama as nyāsa, is weak in pañcama and ṛṣabha, there is main
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21 (mutual) movement between the svaras comprised of two śrutis each in their main
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22 original form. There is the abundance of şadja-madhyama and pañcama- main
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23 rṣabha(as an alternative to their sparseness). This trāvaṇī is born of deśa44 main
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24 (region) and is sādhāraņakṛtā. main
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25 <math>(100-101)</math> main
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26 Illustration - Sāsāsāpāpāpā dhādhādhādhānīnīnīsā sānidhānidhādhārisāsā main
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27 nīdhānidhāsāmamarimārimāgāgārisāsanipāpāpā nidhānisāsanisanimadha main
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28 dhasanidhāmāgāmādhānīsāsādhānīsāmadhāmāgāmādhānīsāsa, Sasasanisā- main
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29 sānigāsanidhāmāmāmādhārisāsā sadhānīdhāpā. Trāvaņī [ix] editorial_bracket
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vol_II_p159 RIGHT — 41 lignes

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1 301 page_number
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2 VIMARŚA page_header
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3 52. The word 'yatah' in this verse seems to imply that because the main
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4 svaras have to match the angahāras performed in the order of āsārita, the main
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5 formation or variation of amsas should be done in the text of the main
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6 vardhamāna. Āsārita and vardhamāna have identical temporal dimensions main
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7 with slight variation in splitting (shown below). These are the two gītakas main
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8 alongwith which the performance of dance is prescribed in NS XXXI - main
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9 <math>16 + 17 + 32 = 65 \text{ Kalās}</math> annotation_inline
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10 Asārita annotation_inline
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11 <math>9 + 8 + 16 + 32 = 65 \text{ Kalās}</math> annotation_inline
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12 Vardhamāna annotation_inline
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13 53. 'Not exceptional' means those svaras, the operation of which main
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14 in the formation of pentatonic varieties is not hindered by the rule of main
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15 samvāda. annotation_inline
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16 54. The strict prohibition of the omission of madhyama seems to main
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17 be based on the fact that this svara is the link between gandharva and main
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18 sāman, it being the tonic in sāman and the connecting point between the main
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19 two triads of the heptad. main
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20 55,56.The words utsarga and apavada are borrowed from main
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21 Pūrvamimāmsā. The former stands for the general rule and the latter for main
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22 the exception to the same. main
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23 57. The import is not clear from here to the end of the Anu. main
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24 58. 'Sangati' stands for to and fro movement between two svaras in a main
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25 jāti. NŚ uses 'paraspara-sañcāra' (mutual to and fro movement) and 'paras- main
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26 paragamana '(mutual movement i.e. each of the two given svaras reaching main
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27 out to the other) for this melodic phenomenon (cf.NŚ XXVIII. 96, 107). The main
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28 word sangati is used even to-day in the oral tradition in the same meaning. main
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29 It is notable that this relationship between any two svaras is purely melodic main
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30 phenomenon; it does not depend on the acoustic relationship of samvāda. main
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31 It is interesting to note that the word samvada has been used in our text in main
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32 the place of sangati several times in the section on ragas. main
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33 59. Omission, in ancient thought, is not something absolute, rather main
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34 it is the extreme state of sparseness. The svara that is omissible in a jāti is main
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35 sparse in its complete state. main
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36 60. NŚ does not mention the mūrchanās of jātis. Matanga does this main
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37 the first time. This innovation seems to be necessitated by the main
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38 for annotation_inline
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39 introduction of fretted viņās (see Glossary). main
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40 61. Pañcapāṇi is another name of the tāla called ṣaṭpitāputraka, the main
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41 third name being uttara. main
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197 lignes a valider — change uniquement les roles incorrects.