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 21619). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p104 RIGHT — 66 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARSA page_header
via surya_layout
2 191 page_number
via heuristic_pagenum
3 30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about main
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4 by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative main
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5 predominance of gita and vādya has been viewed here alongwith temporal main
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6 factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 main
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7 ( prose portion not commented upon by Abhinavagupta and put by the editor main
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8 within square brackets) and in S R VI, 168-170 as others' opinion. The main
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9 following correspondences have been indicated in the above passages in NS and main
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10 S R; BrD is in agreement with them here. main
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11 Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in main
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12 note 20 above ). (The prose passage of NS referred to above does use the word main
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13 graha). main
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14 Vytti table
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15 <b>Git</b>i table
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16 Mārga table
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17 Yati table
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18 Pāņi or table
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19 Avayava table
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20 Laya table
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21 Graha table
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22 Citrā table
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23 Māgadhi table
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24 Citrā table
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25 Druta table
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26 Samā table
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27 Uparipāņi table
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28 Ogha table
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29 Sambhāvitā Vārtika table
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30 Vytti table
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31 Madhya table
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32 Srotogatā Sama table
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33 Anugata table
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34 Daksiņā Pythulā table
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35 Vilambita table
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36 Daksina table
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37 Gopucchā Avapāņi table
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38 Tattva table
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39 32. Tāla is the structured cycle for time-measure in music and dance, here list_item
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40 this word seems to have been used in the general sense of the variable factors list_item
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41 that operate tāla, like mārga, yati, laya etc. list_item
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42 33. Laya lit. means merging; the rest or pause immediately following an list_item
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43 action is laya. The duration of a kriyā is determined by laya i.e. by the pause or list_item
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44 intervening time between one kriyā (action) and another. Druta (fast), list_item
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45 madhya (medium) and vilambita (slow) are the three layas that are list_item
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46 progressively double, each succeeding laya being double of the preceding one list_item
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47 i.e. the rest or pause is double and hence the tempo is slower. list_item
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48 34. Yati is the order of the use of laya in a given piece. Either the laya list_item
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49 remains constant all-through, that is samā yati, or it proceeds from fast to slow, list_item
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50 that is gopucchā yati or from slow to fast, that is srotogatā yati. list_item
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51 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor list_item
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52 or manifested. list_item
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53 36. See note 34 above. list_item
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54 37. See note 33 above. list_item
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55 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). list_item
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56 39. Ogha is one of the three types of gitanuga vadya (instrumental list_item
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57 rendering that follows 'song'). When the instrument uses profuse strokes for list_item
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58 each unit of 'song' or melody that is ogha. list_item
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59 40. See note 34 above. list_item
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60 41. See note 33 above. list_item
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61 42. Samapāņi is equated with sama graha. ( see note 20 above ) list_item
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62 43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It list_item
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63 follows the song or melody, which means that it is not perfectly identical with list_item
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64 the latter. list_item
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65 44. See note 34 above. list_item
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66 45. See note 33 above. list_item
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vol_I_p048 LEFT — 38 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDES!</b> page_header
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2 78 page_number
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3 [ अनु₀ ५६ ] editorial_bracket
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4 कूटतानानां सहस्राणि पञ्च त्रयस्त्रिंशदधिकानि निष्पद्यन्ते। main
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5 <sub>०</sub>मस्त्रिः main
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6 दत्तिलेनाप्युक्तम्— annotation_inline
parent ligne 5
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7 <sup>83</sup>"पूर्णाः पञ्च सहस्राणि त्रयस्त्रिशच्च संख्यया। main
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8 ुर्णः, annotation_inline
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9 मसत्, main
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10 कथयन्ति प्रतिग्राममुपायो गणनेऽधुना।" main
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11 नेधुनः दत्तिलम् ३९ ] editorial_bracket
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12 पयोगेन main
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13 गणनाऽत्र परेण तानप्रयोगेण पूर्वस्तानप्रयोगो हन्यते। तथा चाह main
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14 ₀मा₃ annotation_inline
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15 दत्तिलः — main
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16 "हन्यादनन्तरायेण पूर्वा यस्य क्रमोत्क्रमात्। main
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17 गुणकारसमास्तत्र क्रमाः ध्ये शेषाः स्युरुत्क्रमाः।" main
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18 दित्तलम् ४० | unknown
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19 माच्छे. annotation_inline
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20 [ अनु<sub>०</sub> ५७ ] editorial_bracket
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21 इदानी गुणनोपायं कथयति— द्वाभ्यां पराभ्यामेकः पूर्वो बऽहन्येत main
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22 J. annotation_inline
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23 द्वावेव भवतः। तौ च द्वौ त्रिभिर्हतौ षड् भवतः । ते [ च षट् ] editorial_bracket
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24 ्रित annotation_inline
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25 ्रत्वा annotation_inline
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26 चतुर्हताश्चतुर्विंशतिर्भवन्ति। सा चतुर्विंशतिः पञ्चभिर्हता शतं विंशत्यधिकं main
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27 भवति। विंशत्यधिकं शतं षड्भिर्हतं शतानि सप्त-विंशत्यधिकानि भवति। main
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28 ्रन्ति main
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29 तानि सप्तभिर्हतानि पञ्चसहस्राणि चत्चारिंशदधिकानि भवन्ति। unknown
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30 अनु₀ ५८ editorial_bracket
parent ligne 28
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31 तत्र क्रमकृतास्तान् स्फोटयित्वा ह्युत्क्रमकृतानि कूटतानानां सप्त- main
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32 स्वरप्रयोगात् पञ्चसहस्राणि त्रयस्त्रिशदधिकानि भवन्ति। main
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33 प्रस्तारो annotation_inline
parent ligne 32
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34 यथा— main
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35 तत्र षड्जस्वरस्य स इत्येकः क्रमः। ऋषभस्य सरीत्येक एव क्रमः। रिस main
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36 इति च व्युक्तमो द्वितीयः। गान्धारस्य सरिगेत्येकः क्रमः। गरिसेत्यादयो main
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37 ुम annotation_inline
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38 ुत्यतः annotation_inline
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vol_II_p081 LEFT — 47 lignes

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1 BŖHADDEŚĪ page_header
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2 144 page_number
via heuristic_pagenum
3 परस्परं तु गमनं यत्र तत् सम्प्रयोजयेत् । main
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4 सा सङ्कीर्णाऽथ विज्ञेया भाषा वै रविचन्द्रिका<sup>३६</sup> ॥ ५३॥ main
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5 ॰र्णादयो जेया annotation_inline
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6 उदाहरणम् - गागागामा । सासा । मागामामागामासासासा । गागाधानिसा main
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7 सागाधनिसा annotation_inline
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8 मा॰ annotation_inline
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9 धाधामारीमागारीगसा सासासामा सारीधाधाधाधा धमागरीगागा धारीसासासा । मागामामागा । main
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10 मासा- annotation_inline
parent ligne 9
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11 ॰धाः annotation_inline
parent ligne 9
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12 ्सासामागारीधा धमगरि गमधनी। सासागाधानिसासा। main
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13 धाधाधापरीगमरीगमसा annotation_inline
parent ligne 12
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14 सामागा main
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15 रविचन्द्रा।[११] editorial_bracket
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16 मध्यमांशा तु षड्जान्ता बहुगान्धारधैवता । main
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17 वा॰ annotation_inline
parent ligne 16
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18 असम्पूर्णस्वरा नित्यमम्बाहेरी प्रकीर्तिता ॥ main
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19 भाषेयं ३७पोज्झिता नित्यं देश्याख्या सम्प्रकीर्तिता ॥५४॥ main
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20 के + + annotation_inline
parent ligne 19
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21 उदाहरणम् – मामासा । नीनी । main
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22 निधाधानी धाधानि । annotation_inline
parent ligne 21
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23 धानिधाधानी । सागागारी । main
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24 सनासनाधा annotation_inline
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25 सासा annotation_inline
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26 तथा annotation_inline
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27 निधानिगागा मागानिसासानि । साधानीगा गानिसासा । सानिनीसनीधा धामानीमा धासनिनी । main
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28 नीसाधानीमाधाधामागासानिसानिधा । माधाधा । साधानीधानीसासा । मामाधासासा main
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29 मामा- annotation_inline
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30 गारीमागासासा । मासामामागारीमागासासा । मसानी निनिमानि धाधानिधामागा । सानीमाधा । main
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31 सासनीधा धनिसाधाधा । धनिधानीसा । अम्बाहेरी ।[१२] editorial_bracket
parent ligne 30
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32 षड्जाद्यन्तसमायुक्ता बहुमध्यमधैवता ॥ main
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33 बाहुलाधमः annotation_inline
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34 द्विश्रुतिभ्यां तु गमनं हीनत्वमृषभेण तु । main
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35 विभ annotation_inline
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36 (भीत?हीन) main
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37 भाषा <sup>३८</sup>षाडविता ह्येषा सङ्कीर्णा ललिता भवेत्<sup>३९</sup> ॥५५॥ main
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38 औडुविता ++ annotation_inline
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39 टकरागजा annotation_inline
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40 उदाहरणम् - सागागाधागामामागा । धमधानीसासा । निधागागा । सासासामापाधानी main
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41 धापा- annotation_inline
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42 मासा साधापाधानीधाधासा नीधागानीगाधनीसससा । लिलता ।[१३] editorial_bracket
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43 सरसा annotation_inline
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44 षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । main
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45 विरहिता सप्तमेन षड्जे मध्यमसङ्गता ॥ ५६॥ main
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46 विनि annotation_inline
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47 त् annotation_inline
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vol_II_p096 RIGHT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 175 page_number
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2 TRANSLATION page_header
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3 Illustration-.....Sādhāritā [iii] editorial_bracket
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4 Gāndhārī has niṣāda as amśa, ṣadja as the concluding note, (and) is main
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5 complete in svaras. This is a bhāṣā in sauvīraka (rāga) and is always sung in main
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6 karuna (rasa).<sup>57</sup> main
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7 (123) annotation_inline
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8 Illustration - Ninigāgāpāmāmānisāmāgānī dhāsāsāsā. Gāndhārī [iv] editorial_bracket
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9 Thus end the <i>bhāṣās</i> of <i>sauvīraka</i>. main
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10 [8. After this are being described the bhāṣās in bhinna-paācama] section_header
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11 Śuddhabhinnakā has dhaivata as amśa and the same as the concluding note, main
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12 is complete, there is concert between dhaivata-ṛṣabha and similarly between main
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13 șadja-madhyama. This śuddhabhinnā is said to be born of bhinnapañcama. It main
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14 is always sung by the Kinnaras<sup>58</sup> in view of its being delightful to the people. main
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15 (124-125) annotation_inline
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16 Illustration - Dhānidhānisasadhā nīdhānisāgāsanigānidhā main
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17 pāpāninimapāmāpāpamādhā dhāpādhāpādhādhā. Śuddhabhinnā [i] editorial_bracket
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18 Having madhyama as amśa, dhaivata as the concluding note, weak in ṛṣabha, main
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19 this bhāṣā is hexatonic with profuse dhaivata and madhyama. There is concert main
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20 between şadja-dhaivata and the svaras comprised of two śrutis each alongwith main
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21 dhaivata. It is well-known as varāṭī and is verily sung by the vidyādharas. 59 main
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22 <math>(126-127)</math> annotation_inline
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23 Illustration - Mādhāsadhānidhā pānimāmāgāsāsāgāmāgā sādhānīdhā. main
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24 Dhādhā dhādhāsādhānī pāpāmāgāsāsāgāmā [dhādhā]. Varāṭī [ii] editorial_bracket
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25 Lower (mandra) ṛṣabha should be used and so also dhaivata again and main
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26 again. (The gamaka) sphurita60 should be used there as fast, medium and main
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27 One should bring about movement in high and low and similarly main
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28 slow.<sup>61</sup> annotation_inline
parent ligne 27
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29 ascentand descent. Eshould be known as a vibhāṣā born of bhinnapañcama. main
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30 <math>(128-129)</math> main
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vol_II_p101 RIGHT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
parent ligne 5
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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214 lignes a valider — change uniquement les roles incorrects.