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 21698). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p037 LEFT — 34 lignes

page vol_II_p037 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 56 page_number
via heuristic_pagenum
3 वचनादबहुत्वम् , धैवतस्यानंशत्वादल्पत्वे वचनाद् बाहुल्यम् । षाडवे धैवतस्याबाहुल्यम् , main
via surya_layout
4 (7) annotation_inline
parent ligne 3
via heuristic_height
5 ऋषभस्य न कदाचिदिप। औडुविते सर्वेषामंशत्वात्र कस्याप्यल्पत्वम्। उक्तभङ्ग्या[ ऽ ]शेषाणां editorial_bracket
parent ligne 3
via heuristic_brackets
6 तस्याल्प (श ?)त्वम् annotation_inline
parent ligne 3
via heuristic_height
7 बाहुत्यम् । न्यासो गान्धार एव च । अपन्यासस्तु मध्यम एव । षड्जगान्धारयोस्त् सञ्चार: । main
via surya_layout
8 [अनु॰ १६३] section_header
via surya_layout
9 दशविधत्वमस्या: । दशांशका: - पूर्णा: पञ्च, चत्वार: षाडवा:, पञ्चमेंऽशेऽपवादात् main
via surya_layout
10 द्वादशांशक्रम: annotation_inline
parent ligne 9
via heuristic_height
11 पञ्चप्यंशेऽपवादः(?) main
via surya_layout
12 [औडुवित एक:।] ऋषभादिमूर्छना । करुणो रस: । ताल: पञ्चपाणि: । editorial_bracket
parent ligne 11
via heuristic_brackets
13 एककले चित्रे main
via surya_layout
14 मागधी । द्विकले वार्तिके सम्भाविता<sup>१६२</sup>, [चतुष्कले दक्षिणे पृथुला । editorial_bracket
parent ligne 13
via heuristic_brackets
15 ध्रवागाने main
via surya_layout
16 तृतीयप्रेक्षणके विनियोग:] editorial_bracket
parent ligne 15
via heuristic_brackets
17 <sup>१६३</sup>[प्रक्षिसांशे नवजातिलक्षणम् ] section_header
via surya_layout
18 [१. षड्जमध्यमा] section_header
via surya_layout
19 अंशा: सप्तस्वरा: षड्जमध्यमाया: मिथश्च ते । main
via surya_layout
20 (पद् ? अंशा:) annotation_inline
parent ligne 19
via heuristic_height
21 •मायां <i>६६</i>४ annotation_inline
parent ligne 19
via heuristic_height
22 सङ्गच्छन्ते, निरल्पोंऽशाद् गादृते वादितां विना ॥१॥ main
via surya_layout
23 शा(गा ? ङ्गा) हते वा (नि ? दि) तां main
via surya_layout
24 निलोपे निगलोपे च षाडवौड्विते मते। main
via surya_layout
25 <sup>१६५</sup>निलोपनिगलोपाभ्यां annotation_inline
parent ligne 24
via heuristic_height
26 षाडवौडुवयो: स्यातां द्विश्रुती तु विरोधिनौ ॥२॥ main
via surya_layout
27 गीतितालकलादीनि , षाड्जीवन्मूर्छना पुन:। main
via surya_layout
28 मध्यमादिरिह ज्ञेया पूर्ववद् विनियोजनम् ॥३॥ main
via surya_layout
29 पूर्वावद्विरहर्द् annotation_inline
parent ligne 28
via heuristic_height
30 <sup>१६७</sup>अस्यां षड्जमध्यमौ न्यासौ । सप्त स्वरा अपन्यासा: । <sup>१६८</sup>प्रस्तार: - main
via surya_layout
31 मा गा सग पा धप मा निध निम main
via surya_layout
32 (१) annotation_inline
parent ligne 31
via heuristic_short
33 मा मा सा रिंग मंग निध पंध पा main
via surya_layout
34 (२) main
via surya_layout

vol_I_p099 RIGHT — 45 lignes

page vol_I_p099 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 181 page_number
via heuristic_pagenum
2 VIMARŚA page_header
via surya_layout
3 is also used. This is how the distinction brought about by mandra and tara could be main
via surya_layout
4 understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. main
via surya_layout
5 48. 'Sukha' has been translated here as convenience or it could be rendered main
via surya_layout
6 as facility. The facility of the performer and listener is said here to be the main
via surya_layout
7 objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have main
via surya_layout
8 the reading 'nānātva' which means variety of mūrchanā and tāna, but since our main
via surya_layout
9 author has tried to distinguish between murchana and tana, we have accepted main
via surya_layout
10 the reading anyatvam which means distinction (see note 78 under textual notes main
via surya_layout
11 on the section ). In NS mūrchanā-tāna is also a compound name for the 84 main
via surya_layout
12 tānas. BṛD does not use this compound and emphasises the distinction between main
via surya_layout
13 the two; viz. mūrchanā and tāna. main
via surya_layout
14 Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and main
via surya_layout
15 said that the variety of murchana and tana accords facility to the performer by main
via surya_layout
16 making possible the use of three sthanas (registers) and also the omission of main
via surya_layout
17 svaras (according to a specific system as embodied in the 84 tanas). The main
via surya_layout
18 distinction between murchana and tana brought out in the reading accepted by main
via surya_layout
19 us could be construed to mean that mūrchanā as a complete scale in ascending main
via surya_layout
20 and descending establishes the three sthanas and tana (involving omission) main
via surya_layout
21 establishes a specific pattern in ascent. It is interesting to note that even today main
via surya_layout
22 omission of one or two svaras is very effective in the ascent in all those ragas main
via surya_layout
23 that involve omission in ascent and use the omitted svaras in descent. ( see main
via surya_layout
24 glossary) main
via surya_layout
25 49. Since specific omissions are prescribed for the two grāmas, tāna the result list_item
via surya_layout
26 of this specific omission could be said to be the distinguishing feature between list_item
via surya_layout
27 the jātis and rāgas of one grāma and the other. list_item
via surya_layout
28 50. This applies to kūļa-tāna where permutation and combination is involved and list_item
via surya_layout
29 definite numbering of each variety is effected. Retrieving the number of a given tana list_item
via surya_layout
30 (arrangement of a given number of svaras) and retrieving the form of a tana whose list_item
via surya_layout
31 number alone is given is known as uddista and nasta respectively. (see glossary) list_item
via surya_layout
32 51, 52. The word tāna-prayoga is being used here to convey two things—in list_item
via surya_layout
33 the first instance the number of tanas (permutation of a given number of list_item
via surya_layout
34 svaras ) is implied and in the second instance the number of svaras constituting list_item
via surya_layout
35 the specific tāna (combination of svaras) is implied. list_item
via surya_layout
36 53, 54, 55 & 56. Krama is a combination of svaras where the original order list_item
via surya_layout
37 remains intact and uthrama is a permutation where the original order is list_item
via surya_layout
38 changed. The method of obtaining the number of kramas and utkramas of a list_item
via surya_layout
39 given-number of svaras is like this—multiply the earlier numbers of a given list_item
via surya_layout
40 number, without leaving any number in-between. For example if the number of list_item
via surya_layout
41 svaras is six, <math>1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720</math> would be the number of kramas and list_item
via surya_layout
42 uthramas taken together; the last number of this series viz. 6 is the number of list_item
via surya_layout
43 kramas and the remainder viz. 714 is the number of utkramas. list_item
via surya_layout
44 57. 'Māna' could stand here for the measure (length, breadth and the like) of the list_item
via surya_layout
45 viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI, list_item
via surya_layout

vol_II_p096 RIGHT — 30 lignes

page vol_II_p096 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 175 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Illustration-.....Sādhāritā [iii] editorial_bracket
parent ligne 4
via heuristic_brackets
4 Gāndhārī has niṣāda as amśa, ṣadja as the concluding note, (and) is main
via surya_layout
5 complete in svaras. This is a bhāṣā in sauvīraka (rāga) and is always sung in main
via surya_layout
6 karuna (rasa).<sup>57</sup> main
via surya_layout
7 (123) annotation_inline
parent ligne 6
via heuristic_height
8 Illustration - Ninigāgāpāmāmānisāmāgānī dhāsāsāsā. Gāndhārī [iv] editorial_bracket
parent ligne 6
via heuristic_brackets
9 Thus end the <i>bhāṣās</i> of <i>sauvīraka</i>. main
via surya_layout
10 [8. After this are being described the bhāṣās in bhinna-paācama] section_header
via surya_layout
11 Śuddhabhinnakā has dhaivata as amśa and the same as the concluding note, main
via surya_layout
12 is complete, there is concert between dhaivata-ṛṣabha and similarly between main
via surya_layout
13 șadja-madhyama. This śuddhabhinnā is said to be born of bhinnapañcama. It main
via surya_layout
14 is always sung by the Kinnaras<sup>58</sup> in view of its being delightful to the people. main
via surya_layout
15 (124-125) annotation_inline
parent ligne 14
via heuristic_height
16 Illustration - Dhānidhānisasadhā nīdhānisāgāsanigānidhā main
via surya_layout
17 pāpāninimapāmāpāpamādhā dhāpādhāpādhādhā. Śuddhabhinnā [i] editorial_bracket
parent ligne 16
via heuristic_brackets
18 Having madhyama as amśa, dhaivata as the concluding note, weak in ṛṣabha, main
via surya_layout
19 this bhāṣā is hexatonic with profuse dhaivata and madhyama. There is concert main
via surya_layout
20 between şadja-dhaivata and the svaras comprised of two śrutis each alongwith main
via surya_layout
21 dhaivata. It is well-known as varāṭī and is verily sung by the vidyādharas. 59 main
via surya_layout
22 <math>(126-127)</math> annotation_inline
parent ligne 21
via heuristic_height
23 Illustration - Mādhāsadhānidhā pānimāmāgāsāsāgāmāgā sādhānīdhā. main
via surya_layout
24 Dhādhā dhādhāsādhānī pāpāmāgāsāsāgāmā [dhādhā]. Varāṭī [ii] editorial_bracket
parent ligne 23
via heuristic_brackets
25 Lower (mandra) ṛṣabha should be used and so also dhaivata again and main
via surya_layout
26 again. (The gamaka) sphurita60 should be used there as fast, medium and main
via surya_layout
27 One should bring about movement in high and low and similarly main
via surya_layout
28 slow.<sup>61</sup> annotation_inline
parent ligne 27
via heuristic_short
29 ascentand descent. Eshould be known as a vibhāṣā born of bhinnapañcama. main
via surya_layout
30 <math>(128-129)</math> main
via surya_layout

vol_I_p080 LEFT — 45 lignes

page vol_I_p080 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 142 page_number
via heuristic_pagenum
2 BRHADDESI page_header
via surya_layout
3 only by implication. It was considered better to mention the 'change of grāma' main
via surya_layout
4 rather than the explicit mention of madhyamagrāma. main
via surya_layout
5 16. Shake on svaras composed of three śrutis each has been spoken of in main
via surya_layout
6 Nātyašāstra and Abhinava Bhāratī cf. NŚ XXX, 7 where rṣabha and dhaivata main
via surya_layout
7 (the two svaras made up of three śrutis each ) have been said to be played with main
via surya_layout
8 shaking fingers. Abhi Bhā on NŚ XXVIII, 21 also speaks of shake on svaras main
via surya_layout
9 composed of three śrutis both in the Vedic and non-Vedic traditions. In the main
via surya_layout
10 description of alankāras NŚ XXIX, 43 speaks of shake for three kalās in the main
via surya_layout
11 kampita alankāra and this description seems also to apply to recita and kuhara main
via surya_layout
12 mentioned in the same verse. Abhinavagupta comments that kalā here, stands main
via surya_layout
13 for 'sruti'. In view of all these postulations the P.t. reading 'dvisruti' has been main
via surya_layout
14 changed to 'triśruti'. In the description of the next two 'alankāras' P.t. also reads main
via surya_layout
15 triśruti'. annotation_inline
parent ligne 14
via heuristic_height
16 17,18,19. P.t. is extremely confused here and hence it has not been noticed. main
via surya_layout
17 20. P.t. reads after 'athava' वेल षड्जग्रामे षड्जाद्याः सप्त मूर्खनाः मध्यमग्रामे मध्यमाण्च सप्त। main
via surya_layout
18 एताष्ट्रचतुर्दम मूर्खनाः। प्रत्येक चतुर्धा भवन्ति। धुद्धा करकलिकलिता सान्तरा तद्द्वयोपेता चेति। एकैकस्या main
via surya_layout
19 मूर्जनायाप्रचतुर्विधत्वात् यत्त्रज पञ्चचत्वारिष्ठायुतानि पञ्चसहस्राणि 'कूटकूटतानानाम् (?)। main
via surya_layout
20 षद्पञ्चाशन्पूर्छनास्ताः पूर्णकृटास्तु योजिताः ॥ main
via surya_layout
21 लक्षड्रय सहस्राणि इचामीतिई मते तथा। main
via surya_layout
22 चत्वारिमञ्च संस्थाता अथापूर्णा ( त् ? न् ) प्रचक्ष्महे ॥ main
via surya_layout
23 एकैकाद्यग्निवरहाद् गमजा घड्जादयः स्वराः । main
via surya_layout
24 एक्स्बरोऽत्र निर्भेदोऽप्युक्तो नष्टोदिसिद्धये ( ७ )॥ main
via surya_layout
25 क्रमादकूटतानत्वे युक्तास्तेषूपयोगिनः । main
via surya_layout
26 सप्तस्थानानि – आधारस्वाधिष्ठानानाहतमणिपूरक ( अनाहत ? ) विशुद्धचाजाब्रह्मरन्ध्रेषु। गमपधनिस। रि। main
via surya_layout
27 सरिगरिगामग । ममपमधपपध निधनिधनिस । प्रस्तारः ॥ annotation_inline
parent ligne 26
via heuristic_height
28 This portion is totally out of context and bears evidence to extreme confusion main
via surya_layout
29 in the MSS. The enumeration of seven sthanas in the last sentence of this main
via surya_layout
30 portion is, however, interesting. main
via surya_layout
31 21,22. P.t. is utterly confused and hence has not been noticed. main
via surya_layout
32 23. P.t. reads -सचरन्तावारोहक्रमेणा (रोहक्रमेणा?) वरोहादुद्वाहितः । main
via surya_layout
33 We have added 'ca' (and) after 'avarohāt' in accordance with Sanskrit main
via surya_layout
34 idiom. annotation_inline
parent ligne 33
via heuristic_height
35 24. P.t. is extremely confused and hence has not been noticed. list_item
via surya_layout
36 25. P.t. reads - list_item
via surya_layout
37 कं (ल ? ला) त्रयकरणात् (प्रा ? हा) दमानः साधासाधासाधा। नीपानीपानीपा। धामाधामाधामा। पागापागापागा। list_item
via surya_layout
38 मारीमारीमारी गासागासागासा। list_item
via surya_layout
39 The illustration has been repeated twice. main
via surya_layout
40 26. We have changed the long solfa-syllables here to short because the list_item
via surya_layout
41 description of this alankara in the text says that three kalas have to be made (in list_item
via surya_layout
42 each phrase). Six short syllables would make three long units (gurus) and one list_item
via surya_layout
43 guru is equal to one kalā as a standard unit. list_item
via surya_layout
44 27. Reading of MS B as noticed by the ed. list_item
via surya_layout
45 28. P.t. Catu (rtha). list_item
via surya_layout

vol_II_p089 LEFT — 30 lignes

page vol_II_p089 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 160 page_number
via heuristic_pagenum
3 यापापाधापासासापाधापमगामामा page_header
via surya_layout
4 उदाहरणम् - सापापाधामामा पागामगापधाधापागमा main
via surya_layout
5 गामसासासागागामागामामा । षड्ज[मध्यमा]।[४] editorial_bracket
parent ligne 4
via heuristic_brackets
6 मध्यमांशा तु षड्जान्ता <sup>७२</sup>दुर्बला पञ्चमेन तु । main
via surya_layout
7 ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ main
via surya_layout
8 भाषेयं षाडवा ज्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ main
via surya_layout
9 प्रेक्षके मधुकरी annotation_inline
parent ligne 8
via heuristic_height
10 मापानिसासारिरोगमगारीसासा main
via surya_layout
11 उदाहरणम् – मापापाधाधामाधनिनिपासनिधसासा मापाधनिसनिसासा main
via surya_layout
12 निधापापापाधनिधा सासा रिरोममागरिसासा। मधुरी। [५] editorial_bracket
parent ligne 11
via heuristic_brackets
13 मधु(क)री annotation_inline
parent ligne 11
via heuristic_height
14 ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ editorial_bracket
parent ligne 11
via heuristic_brackets
15 [५.अथ पञ्चमे] ७४ editorial_bracket
parent ligne 11
via heuristic_brackets
16 पञ्चमांशा तदन्ता च निषादबहुला सदा। main
via surya_layout
17 परस्परं तु दृश्येत अषड्जधैवतसङ्गतिः ॥ ८९॥ main
via surya_layout
18 <sup>७६</sup>पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । main
via surya_layout
19 आभौरी annotation_inline
parent ligne 18
via heuristic_height
20 पूर्ण annotation_inline
parent ligne 18
via heuristic_height
21 एषा भाषा तु विज्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ main
via surya_layout
22 उदाहरणम् -पाधामाधनिधापापापा पधनिधामामाधानिसासा सनिधनिसधानिसानिधासा धरि- main
via surya_layout
23 मामाधानिनिधापापा पममधनिसासा सनिनिसासासिनगरिमममागा रिसससधिनपा धामामास - main
via surya_layout
24 रिमाधारिमपापा । आभीरी। [१] editorial_bracket
parent ligne 23
via heuristic_brackets
25 भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । main
via surya_layout
26 मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ main
via surya_layout
27 मध्यम् annotation_inline
parent ligne 26
via heuristic_height
28 भाषा तु भाविनी ज्ञेया पूर्णा गान्धर्ववेदिभिः ७०॥ ९१॥ main
via surya_layout
29 उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मामागामापापा editorial_bracket
parent ligne 28
via heuristic_brackets
30 मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२] editorial_bracket
parent ligne 28
via heuristic_brackets
184 lignes a valider — change uniquement les roles incorrects.