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 21692). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p134 RIGHT — 41 lignes

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1 251 page_number
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2 PĂŢHAVIMARŚA page_header
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3 88. ८ि. जात्यंशगतानि यानि दशकरूपाणि ताञ्चशणान्युकानि तत्सङ्कीर्णतया यन् मिश्रम् । गेयं ग्रामरागादिलक्षणम् । तद्यदि main
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4 कस्योपि जात्यंशकस्य सम्बन्ध्यंशोऽन्यस्य न्यासोऽन्यदीयोऽपन्यास इत्यादि बहुतरवैचित्र्यम् । तदेवम्भूतं यन्मिश्रगेयं तदस्या main
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5 जातेरर्थितमिति यत्रियम्यते मतङ्गनन्दिकश्यपयाष्टिकादिभिस्तद्धिकेन रूपबाहुल्येन । तथा(विहि)तं पानकमिदमिति न तु main
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6 क्रममिश्रितम्। annotation_inline
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7 Abhi Bhā on NŚ XXVIII. 141, p. 63. main
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8 89. cf. इति त्रिपष्टिरंशा: स्युस्तेपामेकैकशोंऽशता । main
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9 C.r. in Sudhā on SR I. 7.59-63. main
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10 Verses 251-256 of our text tally with Datti 90b-95. main
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11 90. P.t. adds here a confused reading after 'madhye' - list_item
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12 ये अनंशास्तेषामनंशानां list_item
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13 91. The order of ṛṣabha-dhaivata has been changed by us to dhaivata- list_item
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14 rṣabha in order to correct the respective order of kaiśikī and pañcamī. list_item
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15 92. C.r. in Sudhā on SR I.7.24-28, p.180. list_item
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16 P.t. reads the following after kriyamaņe in the first line of Anu. 139, which main
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17 is redundant- annotation_inline
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18 सप्तधिकश्चैवं चत्वारिशच्च पाडवे अस्यार्थविधौ क्रियमाणे । main
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19 93. C. r. in Sudhā on SR 1.7.24-28, p.180, reads - list_item
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20 सप्तचत्वारिंशदंशा भवन्ति । कथम् ? चतसृणां etc. list_item
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21 94. C. r. in ibid. list_item
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22 95.cf. c.r. in ibid - list_item
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23 पड्जमध्यमा पाड्जी पड्जोदोच्यवा कैशिकी रक्तगान्धारीत्यासां सप्तांशा अपवादभूता: पातनीया: । main
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24 P.t. adds the following portion after verse 257, which is out of place and has, main
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25 therefore, been omitted by us- main
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26 सगमपर्धः स्मृता +++++++ । main
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27 नन्दयन्ती भवेत् पागा गान्धारोदीच्यवासमा ॥ main
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28 96. C.r. in Sudhā on SR I. 7.24-28, p.180. list_item
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29 97. Reading in NS Chau. XXVIII. 93. list_item
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30 98. Reading in NS XXVIII. 58. list_item
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31 99. Ibid. list_item
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32 100. Reading in NS Chau. XXVIII.63. list_item
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33 101. P.t. reads - 'tadvaddhaivatahīnatā'. Reconstruction based on NŠ list_item
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34 XXVIII. 59. list_item
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35 102. Reading in NS Chau. XXVIII. 63. list_item
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36 103. Reading in NS XXVIII. 59 and NS Chau. XXVIII. 64. Recon- list_item
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37 struction of 'pañcamaḥ'as 'pañcamam 'based on NŚ Chau. XXVIII. 64. list_item
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38 104, 105.Reading in NS XXVIII. 60. list_item
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39 106, 107. Reading in NS Chau. XXVIII .64. list_item
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40 108. Reading in NŚ XXVIII. 61. list_item
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41 109. Added on the basis of NS XXVIII. 61. list_item
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vol_I_p041 LEFT — 36 lignes

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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_p109 RIGHT — 41 lignes

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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_p105 LEFT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
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
parent ligne 15
via heuristic_markers
17 लिलता निषादवती तुम्बुरुगिन्धारलिलता । main
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18 निषादवत्या च स्वरगान्धारवर्जिता annotation_inline
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19 [कलिङ्गा चैव शुद्धा च मध्यमा पार्वती तथा] ॥ २१॥ editorial_bracket
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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
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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_p090 RIGHT — 38 lignes

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1 163 page_number
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2 TRANSLATION page_header
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3 Māngālī has pancama as its concluding note and is said to have dhaivata main
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4 as amśa. There is concert between şadja-dhaivata and similarly madhyama- main
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5 ṛṣabha; it is held to be always complete and should be known to be born of main
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6 ٠ page_number
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7 deśa<sup>37</sup> (region). This bhāṣā is said to be born of pañcama (rāga) by the main
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8 knowledgeable ones in music. main
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9 <math>(92-93)</math> main
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10 Illustration-[Dhādhā] Sāsīsīsadhāsīriridhāsīriri[mari] dhāsādhāsīsīrimāri editorial_bracket
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11 mämämadhamadhapāpādhāmapāpamāsānidhasī ririmāgarisāsūrimārimamam main
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12 adhamapapāpāpāmāpāpamasīsīnidhasīsīririgārimārisī dhāsīsadhamāsīsīsīsīma. main
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13 Pamāmāpāpā. Mārigālī [iii] editorial_bracket
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14 Having pañcama as amsa and the same as the concluding note, being main
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15 complete and brilliant with pañcama, saindhavī has been known to be a main
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16 vibhāṣā born in the Sindhu region. Concert38 between ṣaḍja and pañcama main
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17 is seen again and again. main
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18 (94) annotation_inline
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19 Illustration-Pāpādhasīrigāgāgarimāri. Sasānidhādhāsanidhādhāmasarigāgāgari main
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20 sādhādhamāpādhāpādhasīsīrigāripapxīrigāgārirīsīdhāvsīdhāpxīmāpxīpxīdhāpxī main
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21 māmāmāpā dhādhāsīrīrisīdhāpā māpāpā. Saindhavī [iv] editorial_bracket
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22 Gūrjarī has gāndhāra as ani śa, pañcama as the concluding note and is with main
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23 sparse madhyama. It has concert between sadja and madhyama, (and) is main
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24 always complete. This vibhāṣā born of pañcama<sup>39</sup> (rāga) is said to be main
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25 complete. annotation_inline
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26 (95) main
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27 Illustration-Gขากฉับฉบับละสำนักเสียลีpāpādādhānidhānāmāmādhāgārīnīswigarim- main
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28 ādhāmāpādhapadhanid hādhādhadhaparīrīsārimāgārimāmāmādhānīdharipa- main
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29 dhānīdhāpā pānīdhāmāmadhamadhamagārirīmāmārīsāsāgārīmāmāpādhā- main
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30 nismismidhāmapāpā. Gūrjari [v] editorial_bracket
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31 Combined with pañcama as the initial and concluding note, dākṣiṇātyā is main
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32 beautiful. This is complete and is said to be born in gandharapancama. 40 It main
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33 should always be known as a vibhāṣā born of pañcama bearing a regional main
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34 name.41 annotation_inline
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35 (96) main
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36 Illustration - Pāpānīrī. Nirigārigarimāmaririniniri. Dhāpāpāpapā niririgari- main
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37 garimagaririri. Dhanidhadhanidhādhanidhāpā pāniririgārigādhāmāgāvirisāniri main
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38 gāmāgārīnidhāpāpā. Dākṣiṇātyā [vi] editorial_bracket
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186 lignes a valider — change uniquement les roles incorrects.