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 20591). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p120 RIGHT — 36 lignes

page vol_II_p120 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 223 page_number
via heuristic_pagenum
3 In the opinion of some, it (elā) is combined with the (name of the) object main
via surya_layout
4 of description (alone). Elā should be made full of charming qualities of main
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5 song, embodying the gaņas (textual units)<sup>31</sup> of metre (and) endowed with main
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6 alankāra and rasa, by the wise. main
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7 (422) annotation_inline
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8 [The types of <i>Elā</i>] editorial_bracket
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9 [A. Out of them the varieties of Gaṇailā] editorial_bracket
parent ligne 6
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10 First, nādāvatī has been said, then is known hamsāvatī, nandāvatī is the main
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11 third and bhadrāvatī is known as the fourth. main
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12 (423) annotation_inline
parent ligne 11
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13 Derived out of Rgveda and the like, 'coloured' with variegated sounds, main
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14 thus has elā been said to be fourfold by the wise, in accordance with the main
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15 'path'<math>^{32}</math> (order) of ganas. main
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16 (424) main
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17 [1. Nādāvatī] section_header
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18 The elā (named) nādāvatī is charming, bedecked with varņa (and) main
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19 alankāra, is sung with manthatāla (and) is full of nāda 33 in every foot. There main
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20 takkarāga becomes delightful to all. main
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21 (425) annotation_inline
parent ligne 20
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22 (Its) colour should be known to be white and śṛṅgāra has been said to be main
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23 the rasa; kaišikī vṛtti<sup>34</sup> has been spoken of (and) pañcālī rīti<sup>35</sup> is accepted. main
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24 (426) annotation_inline
parent ligne 23
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25 Bhāratī is its devatā (presiding deity) and the lineage of brāhmaņas prevails. main
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26 Where five candraganas 36 combined with one svargana 37 are there, that cla main
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27 is known to be nādāvatī, by the foregoing learned ones. main
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28 (427) main
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29 [2. Hamsāvatī] section_header
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30 Making movement like a swan, with nāda and pada, it is known as main
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31 hamsāvatī, because it proceeds smoothly. Dvitīyaka is the tāla there and (it) main
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32 is sung in <i>hindola (rāga</i>). main
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33 (428) annotation_inline
parent ligne 32
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34 Red colour has been said to prevail. Caṇḍikā is the devatā (presiding main
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35 deity), ārabhaţī is the vṛtti<sup>38</sup> (and) lāṭīyā rīti<sup>39</sup> is accepted. main
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36 (429) main
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vol_I_p062 LEFT — 42 lignes

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1 BRHADDESI page_header
via surya_layout
2 106 page_number
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3 विधुतो ३१ गात्रवर्णश्च उद्गीतोद्वाहितौ वेणुः। main
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4 ₄ता annotation_inline
parent ligne 3
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5 ०धृ० main
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6 पञ्चैते चाप्यलङ्कारा विज्ञेयाश्चावरोहिणि॥१२९॥ main
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7 ₀णी annotation_inline
parent ligne 6
via heuristic_markers
8 प्रसन्नादिः प्रसन्नान्तो बिन्दुः कम्पितरेचितौ। main
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9 प्रेङ्कोलितस्तारमन्द्रो मन्द्रतारः समस्तथा।।१३०।। main
via surya_layout
10 सि्रवृत्तप्रवृत्तश्च उपलोलकवेणुकौ। main
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11 ₀त्तः annotation_inline
parent ligne 10
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12 द्वादशैतेऽप्यलङ्काराः सर्ववर्णाश्रयाः स्मृताः ॥१३१॥ main
via surya_layout
13 मन्द्रो मध्यश्च तारश्च अवलोकित एव च। main
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14 ०मे० annotation_inline
parent ligne 13
via heuristic_short
15 (त?) main
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16 अपाङ्गाख्यस्तथोर्मिश्च सर्ववर्णगताः स्मृताः ॥१३२॥ main
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17 •योभि• annotation_inline
parent ligne 16
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18 ৹ল৹ main
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19 ०मा० annotation_inline
parent ligne 18
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20 सप्तरूपगता ज्ञेया अलङ्कारा बुधैरिमे। main
via surya_layout
21 ৹ব৹ annotation_inline
parent ligne 20
via heuristic_short
22 नैते सर्वे4० ध्रुवास्विष्टा 41अतिवर्णप्रकर्षणात्।।१३३।। main
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23 42列。 annotation_inline
parent ligne 22
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24 ₀षा तु annotation_inline
parent ligne 22
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25 . <sup>43</sup>नेष्यन्ते हि           <sup>43</sup>,स्वेते       <sup>43</sup>जा。 main
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26 44न हि वर्णप्रकर्षस्तु ध्रुवाणां सम्प्रशस्यते। main
via surya_layout
27 णा (?) annotation_inline
parent ligne 26
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28 श्येनो वाऽप्यथवा बिन्दुर्ये चान्ये प्रतिकर्षणाः ॥१३४॥ main
via surya_layout
29 सतेमा annotation_inline
parent ligne 28
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30 ₀न्दुःरे (?) annotation_inline
parent ligne 28
via heuristic_markers
31 45[ ते ध्रुवाणां प्रयोगेषु न कार्याः स्वप्रमाणतः।] editorial_bracket
parent ligne 28
via heuristic_brackets
32 ध्वाणां च प्रयोगे46ं तु कार्याश्चारोहिणः स्वराः ॥ १३५॥ main
via surya_layout
33 स्ण₃ unknown
via fallback
34 यस्मादर्थानुरूपा हि ध्रुवा कार्यार्थदर्शिका। main
via surya_layout
35 ०भिः annotation_inline
parent ligne 34
via heuristic_short
36 गुरुः सा++++ भिर्पुवा main
via surya_layout
37 वर्णानां तु पुनः कार्यं कृशत्वं च ध्रुवास्वलम्।।१३६॥ main
via surya_layout
38 (यः ? यं ) annotation_inline
parent ligne 37
via heuristic_short
39 येऽत्र प्रयोगं47 गच्छन्ति तांश्च वर्णान् निबोधत। main
via surya_layout
40 ०गे annotation_inline
parent ligne 39
via heuristic_short
41 यः annotation_inline
parent ligne 39
via heuristic_height
42 स्थायिवर्णादृते चैषां सम्प्रवक्ष्यामि लक्षणम्।।१३७।। main
via surya_layout

vol_II_p101 RIGHT — 33 lignes

page vol_II_p101 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 185 page_number
via heuristic_pagenum
3 [1. Now in takka] section_header
via surya_layout
4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
via surya_layout
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
via heuristic_short
7 (1) main
via surya_layout
8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
parent ligne 8
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
via surya_layout
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
parent ligne 11
via heuristic_short
13 (2) main
via surya_layout
14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
via surya_layout
15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
parent ligne 15
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
via surya_layout
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
parent ligne 19
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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
parent ligne 21
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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
parent ligne 25
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
via surya_layout
28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
parent ligne 28
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
via surya_layout
31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
via surya_layout
32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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vol_I_p034 RIGHT — 35 lignes

page vol_I_p034 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 51 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 V (the Section on Grāma-mūrchanā) section_header
via surya_layout
4 [The treatment of grama] section_header
via surya_layout
5 (Anu. 30) annotation_inline
parent ligne 4
via heuristic_height
6 Then, what is spoken of by the word grāma? How many grāmas are there? main
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7 From where is grāma born? And what is its objective? main
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8 (84) annotation_inline
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9 It is being answered. annotation_inline
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10 The two grāmas stand for a group! composed of svara, śruti and the like. main
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11 (85) annotation_inline
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12 Just as all members of families live together, (similarly) grāma? is known as main
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13 (86) annotation_inline
parent ligne 12
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14 that by all the people where there is an abiding settlement. main
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15 Two grāmas named şadja and madhyama are definitely well-known. Nārada main
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16 speaks of gandhara (grama)3, but that is not 'sung' (used) by the mortals. main
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17 (87) annotation_inline
parent ligne 16
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18 ٠ page_number
via heuristic_pagenum
19 Şvaras are born of Sāmaveda, grāma is born of svaras, and these (grāmas) are main
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20 known to be two5 characterised by (the names) şadja and madhyama. main
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21 (88) annotation_inline
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22 (Anu. 31) annotation_inline
parent ligne 20
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23 The objective is thus - the systematisation<sup>6</sup> of svara, śruti, mūrchanā, tāna, jāti main
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24 (and) rāga is indeed the objective. main
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25 (Anu. 32) annotation_inline
parent ligne 24
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26 But why are the gramas named after the svaras sadja and madhyama? It is main
via surya_layout
27 being answered. Because of (their) uncommonness the grāmas are named after main
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28 them. And the uncommonness is on account of their being born of devakula? main
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29 (the community of gods). main
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30 The same has been said by Nārada - main
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31 "Ṣadja, gāndhāra" and madhyama are born of devakula. Brahmā, Viṣṇu and main
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32 Maheśvara should be known as their presiding deities." main
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33 Out of the two grāmas which one is known to be prominent? From the main
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34 statement by the muni (Bharata?), the prominence of şadja-(grāma)9 is known. main
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35 (89) annotation_inline
parent ligne 34
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vol_II_p034 RIGHT — 35 lignes

page vol_II_p034 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 51 page_number
via heuristic_pagenum
3 pañcama and șadja. In the complete state there is the sparseness of șadja, main
via surya_layout
4 madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness main
via surya_layout
5 of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness main
via surya_layout
6 of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is main
via surya_layout
7 upto the nyāsa or upto the svara next to it. main
via surya_layout
8 [Anu. 153] section_header
via surya_layout
9 The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla. main
via surya_layout
10 There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), main
via surya_layout
11 eight in citra (mārga). It is ten-fold. There are ten amśas. Šuddhā (is one). main
via surya_layout
12 There are three vikṛtās in the complete state, three in the ṣāḍava state and main
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13 three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is main
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14 prescribed in the singing of dhruvās in the first scene (or act). main
via surya_layout
15 [5. Şadjakaisiki] section_header
via surya_layout
16 [Anu. 154] section_header
via surya_layout
17 Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The main
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18 tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara main
via surya_layout
19 next to it. It is always complete. There is the sparseness of dhaivata, niṣāda main
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20 and madhyama. Rṣabha is even more sparse, there is abundance of the main
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21 remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are main
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22 apanyāsas. main
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23 [Anu. 155] section_header
via surya_layout
24 It has no śuddhā state, there are three amśas in the complete state. main
via surya_layout
25 Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī main
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26 gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In main
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27 catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is main
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28 karuṇa. Its application (viniyoga) is (prescribed) in the first song associated main
via surya_layout
29 with entry in the second scene (or act). main
via surya_layout
30 [6. Şadjodicyava] section_header
via surya_layout
31 [Apu. 156] section_header
via surya_layout
32 Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā. main
via surya_layout
33 The tara extends up to five svaras. The mandra is upto the nyasa or the svara main
via surya_layout
34 next to it. The şādava formation is devoid of rṣabha, the auduvita formation main
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35 is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of main
via surya_layout
181 lignes a valider — change uniquement les roles incorrects.