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 20649). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p053 RIGHT — 42 lignes

page vol_I_p053 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 89 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 (manifested) in the bodily<sup>21</sup> (<math>v\bar{i}n\bar{a}</math>). That is why it has been said that just as these main
via surya_layout
4 (varṇas) exist (in the bodily <math>viṇ\bar{a}</math>), similarly do they bring (themselves) into main
via surya_layout
5 effect (on the wooden <math>vin\bar{a}</math>); this meaning is inherent in the mention of <math>sanra^{22}</math> main
via surya_layout
6 (bodily) svaras (in the verse of NS quoted above). main
via surya_layout
7 So has been said - annotation_inline
parent ligne 6
via heuristic_height
8 These four varnas should be known as the constructors23 of melodic main
via surya_layout
9 (NŚ XXIX, 19ab) annotation_inline
parent ligne 8
via heuristic_height
10 rendering. annotation_inline
parent ligne 8
via heuristic_height
11 [Thus end the varnas] editorial_bracket
parent ligne 8
via heuristic_brackets
12 [The Alankaras] section_header
via surya_layout
13 (Anu. 68) annotation_inline
parent ligne 12
via heuristic_height
14 Now the well-known thirty-three 24 alankāras are being described by name main
via surya_layout
15 and application. What is spoken of through the word alankara and what is its main
via surya_layout
16 etymology? It is being answered. Ornament25 is being spoken of by the word main
via surya_layout
17 alankāra. Just as a man or woman adorned with a bracelet on the forearm, main
via surya_layout
18 middle-arm and the like, bears beauty (becomes beautiful), similarly the singing main
via surya_layout
19 that subsists in varņas (and is) adorned by these alankāras (known as) main
via surya_layout
20 prasannādi and the like, becomes delightful to the performers and listeners. main
via surya_layout
21 And the etymology is like this—the root 'du krñ' in the meaning of doing or main
via surya_layout
22 making bears the prefix alam (sufficient or adequate) and (the word) alankāra main
via surya_layout
23 (derived thereby) means that which makes something sufficient or adequate. main
via surya_layout
24 This word alankara has the end-suffix ghan. main
via surya_layout
25 (Anu. 69) annotation_inline
parent ligne 24
via heuristic_height
26 The names<sup>26</sup> of alankāras are being said (1) Prasannādi (having prasanna or main
via surya_layout
27 mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower main
via surya_layout
28 svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning main
via surya_layout
29 and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama main
via surya_layout
30 (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the main
via surya_layout
31 line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu main
via surya_layout
32 (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity main
via surya_layout
33 or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) main
via surya_layout
34 (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and main
via surya_layout
35 low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) main
via surya_layout
36 Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or main
via surya_layout
37 graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka main
via surya_layout
38 (constantly moving or restless) (19) Krama (a specific order or sequence), (20) main
via surya_layout
39 i annotation_inline
parent ligne 38
via heuristic_height
40 Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or main
via surya_layout
41 sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka main
via surya_layout
42 (the rotating one), (24) Parivartaka (moving to and fro, changing), (25) main
via surya_layout

vol_I_p042 LEFT — 34 lignes

page vol_I_p042 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 66 page_number
via heuristic_pagenum
3 मपधनिसरि X main
via surya_layout
4 [ хमपधनिसरी] editorial_bracket
parent ligne 3
via heuristic_brackets
5 रि 🗙 म प ध नि स main
via surya_layout
6 सरि ४ म प ध नि annotation_inline
parent ligne 5
via heuristic_short
7 निसरि X म प ध main
via surya_layout
8 गहीनाः [इति षाडवाः।] editorial_bracket
parent ligne 7
via heuristic_brackets
9 धनिसरिप्रमप unknown
via fallback
10 मप x निस x ग main
via surya_layout
11 गमप X निस X annotation_inline
parent ligne 10
via heuristic_short
12 [хगमपх निस] editorial_bracket
parent ligne 10
via heuristic_brackets
13 स X गमप X नि main
via surya_layout
14 निस X ग म प X annotation_inline
parent ligne 13
via heuristic_short
15 [ x न स x ग म प ] editorial_bracket
parent ligne 13
via heuristic_brackets
16 प x नि स x ग म main
via surya_layout
17 म प ध 🗶 स रि 🗶 annotation_inline
parent ligne 16
via heuristic_short
18 [ хमपध editorial_bracket
parent ligne 16
via heuristic_brackets
19 रि 🗶 म प ध 🗶 स main
via surya_layout
20 सरि 🗶 म प ध 🗶 annotation_inline
parent ligne 19
via heuristic_short
21 [ ४ सरि ४ म प ध ] editorial_bracket
parent ligne 19
via heuristic_brackets
22 ध x स रि x म प main
via surya_layout
23 निगहीनाः । इत्यौडुविताः । main
via surya_layout
24 पध X स रि X म main
via surya_layout
25 [ मूर्छनातानयोर्भेदः ] section_header
via surya_layout
26 [ अनु. ४५ ] editorial_bracket
parent ligne 25
via heuristic_brackets
27 23ननु मूर्छनातानयोः को भेदः? उच्यते— main
via surya_layout
28 मूर्जनातानयोर्नार्थान्तरत्वमिति24 विशाखिलः । एतच्चा- main
via surya_layout
29 26,ਜ਼ੂ annotation_inline
parent ligne 28
via heuristic_short
30 <sup>25</sup>योः अणुत्वा. main
via surya_layout
31 •श्राह् annotation_inline
parent ligne 30
via heuristic_short
32 •नुनुत्वा main
via surya_layout
33 सङ्गतम्। २७ संग्रहश्लोके तु मूर्छनातानयोर्भेदस्य प्रतिपादितत्वात्। unknown
via fallback
34 28तत् कथम् ? [ 29आरोहावरोहक्रमयुक्तः स्वरसमुदायो ] editorial_bracket
parent ligne 32
via heuristic_brackets

vol_I_p036 LEFT — 29 lignes

page vol_I_p036 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDES!</b> page_header
via surya_layout
2 54 page_number
via heuristic_pagenum
3 आरोहणावरोहणक्रमेण स्वरसप्तकम्। main
via surya_layout
4 मूर्छनाशब्दवाच्यं हि विज्ञेयं तद् विचक्षणैः ॥ ९१ ॥ main
via surya_layout
5 अनु. ३६ section_header
via surya_layout
6 सा च मूर्छना द्विविधा-सप्तस्वरमूर्छना द्वादशस्वरमूर्छना चेति। तत्र main
via surya_layout
7 सप्तस्वरमूर्छना चतुर्विधा- पूर्णा, षाडवा, औडुविता, साधारणा चेति। main
via surya_layout
8 तत्र सप्तभिः स्वरैर्या गीयते सा पूर्णा। षड्भिः स्वरैर्या गीयते सा main
via surya_layout
9 षाडवा। पञ्चिभः स्वरैर्या गीयते सा औडुविता। काकल्यन्तरस्वरैर्या main
via surya_layout
10 13:56 annotation_inline
parent ligne 9
via heuristic_short
11 गीयते सा साधारणा। main
via surya_layout
12 ,पी14 main
via surya_layout
13 [ अनु. ३७ ] section_header
via surya_layout
14 ii<br>L unknown
via fallback
15 इदानीं मूर्छनामण्डलमुच्यते। तत्र परिपाट्याहितत्वेन प्रवृत्तत्वात् main
via surya_layout
16 सप्तस्वराणां मूर्छनानां प्रतिग्राममेकोनपञ्चाशत् स्वराः कोष्ठाश्च भवन्ति। main
via surya_layout
17 तद्यथा— section_header
via surya_layout
18 एकोनाः खलु पञ्चाशत् कर्तव्याः स्वरसंयुताः। main
via surya_layout
19 ₀ण्डू ( ? ) annotation_inline
parent ligne 18
via heuristic_markers
20 तिर्यगृध्वं च रेखाभिरष्टभिश्चैव कोष्ठकाः ॥९२॥ main
via surya_layout
21 [ अनु. ३८ ] section_header
via surya_layout
22 तत्र स-नि-ध-प-म-ग-रीत्याद्याः सप्त षड्जग्रामे। main
via surya_layout
23 म-ग-रि-स-नि-ध-पाद्याः सप्त मध्यमग्रामे। main
via surya_layout
24 तिर्यगृर्ध्वगा अपि स्वरा:15 कार्या:1 तद्यथा— main
via surya_layout
25 नि-ध-प-म-ग-रि-सा इति षड्जग्रामे। main
via surya_layout
26 ग-रि-सं-नि-ध-प-मा16 इति 17मध्यमग्रामे॥ main
via surya_layout
27 एवं तावदुभयग्रामिक्यश्चतुर्दश मूर्छनाः संपूर्णाः। main
via surya_layout
28 स-रि-ग-म-प-ध-नि annotation_inline
parent ligne 27
via heuristic_short
29 नि-स-रि-ग-म-प-ध main
via surya_layout

vol_II_p054 LEFT — 28 lignes

page vol_II_p054 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BŖHADDEŚĪ page_header
via surya_layout
2 90 page_number
via heuristic_pagenum
3 [अन्॰ १६७] editorial_bracket
parent ligne 4
via heuristic_brackets
4 अस्यार्थ: -शुद्धसाधारितो राग: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेरुत्पत्रत्वात्। तारषड्जो main
via surya_layout
5 ग्रहोंऽशश्च । मध्यमो न्यासश्च । निषादगान्धारयोरल्पत्वम् । पूर्णश्चायम् । गर्भसन्धौ विनियोगः । वीररौद्रादिको main
via surya_layout
6 रसः । षड्जादिमूर्छना । अवरोही वर्णः । प्रसन्नान्तोऽलङ्कारः । दक्षिणे कला । वृत्तौ कला , चित्रे कला main
via surya_layout
7 (ति ? दि) annotation_inline
parent ligne 6
via heuristic_height
8 स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
9 [४. शुद्धकैशिकमध्यम:] section_header
via surya_layout
10 कैशिकीषड्जमध्याभ्यां शुद्धकैशिकमध्यमः। main
via surya_layout
11 ॰शुद्ध॰ annotation_inline
parent ligne 10
via heuristic_markers
12 षड्जांशो मध्यमन्यासस्त्यक्तावृषभपञ्चमौ४१ ॥ ३०२॥ main
via surya_layout
13 ॰क (स्त्रि ? त्रि) त्रुतिपञ्चम: annotation_inline
parent ligne 12
via heuristic_markers
14 [अनु॰ १६८] editorial_bracket
parent ligne 12
via heuristic_brackets
15 अस्यार्थ: - शुद्धकैशिकमध्यमो राग: षड्जग्रामसम्बन्ध: कैशिकीषड्जमध्याजातिभ्यां<sup>४२</sup> main
via surya_layout
16 ॰ जात्यो: annotation_inline
parent ligne 15
via heuristic_markers
17 समुत्पन्नत्वात् । ननु कैशिको मध्यमग्रामसम्बद्धा , षड्जमध्यमा षड्जग्रामसम्बन्धा, अत main
via surya_layout
18 (ननु ?) annotation_inline
parent ligne 17
via heuristic_height
19 उभयग्रामता[ऽ]स्तीति भाव:।[ऋषभपञ्चमहीनत्वात् षड्जग्रामसम्बद्ध एवायम् , मध्यमग्रामे editorial_bracket
parent ligne 17
via heuristic_brackets
20 ऋषभपञ्चमयोर्लोपो नास्तीति भाव: ।]<sup>४३</sup> तारषड्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । editorial_bracket
parent ligne 17
via heuristic_brackets
21 निषादगान्धारयोरल्पत्वम् । पञ्चमर्षभयोर्लोप: । निषादोऽत्र काकली, औडुवश्च । निर्वहणे चास्य main
via surya_layout
22 काकलिपाडवश annotation_inline
parent ligne 21
via heuristic_height
23 प्रयोग: । षड्जादिमूर्छना । रौद्रवीरादिको रस: । प्रसन्नान्तोऽलङ्कार: । ..... main
via surya_layout
24 [५. शुद्धकैशिक: ] section_header
via surya_layout
25 ४४षड्जांश: ४५पञ्चमन्यास: कैशिकीजातिसम्भव:। main
via surya_layout
26 पड्जांशै: annotation_inline
parent ligne 25
via heuristic_height
27 पञ्चमो annotation_inline
parent ligne 25
via heuristic_height
28 तथा कार्मारवीजाते: स्वरै: पूर्णेश्च कैशिक: ॥३०३॥ main
via surya_layout

vol_I_p052 RIGHT — 41 lignes

page vol_I_p052 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 87 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 When in the gita (melodic rendering) the svaras move (to and fro) in main
via surya_layout
4 mutual7 (directions) along with the last one8 (of the preceding phrase forming main
via surya_layout
5 the beginning of the succeeding phrase), or two by two, that is known as the main
via surya_layout
6 (119) annotation_inline
parent ligne 5
via heuristic_height
7 sañcārin9 (circulatory) varņa. annotation_inline
parent ligne 5
via heuristic_height
8 (Anu. 65) section_header
via surya_layout
9 Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in main
via surya_layout
10 various (phrases) like this, on account of mutual movement (the sañcārin varņa main
via surya_layout
11 is formed). annotation_inline
parent ligne 10
via heuristic_height
12 (Anu. 66) section_header
via surya_layout
13 Where the svaras of the gita ascend one by one or with intervening gaps, main
via surya_layout
14 that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, main
via surya_layout
15 dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri main
via surya_layout
16 mama dhani nini pāri mama dhani pādhani riripā — thus on account of main
via surya_layout
17 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin main
via surya_layout
18 (ascending) varņa (comes into being). main
via surya_layout
19 Where the svaras descend in one order alone, that is called avarohin with main
via surya_layout
20 (120) annotation_inline
parent ligne 19
via heuristic_height
21 'equal' (gapless) svaras (or) with gaps. annotation_inline
parent ligne 19
via heuristic_height
22 pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama main
via surya_layout
23 nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on main
via surya_layout
24 account of 'mutual' (gapless) descent or with a gap of one or two svaras. main
via surya_layout
25 Hence it has been said - annotation_inline
parent ligne 24
via heuristic_height
26 "These varnas ought to be known for the sake of the structuring" of main
via surya_layout
27 alankāras and the like, as being born of svaras produced by the human body 12 main
via surya_layout
28 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) main
via surya_layout
29 (Anu. 67) section_header
via surya_layout
30 How is varna brought about? It is being answered. When the svaras stretch main
via surya_layout
31 the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their) main
via surya_layout
32 steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of main
via surya_layout
33 melodic movement) is effected. annotation_inline
parent ligne 32
via heuristic_height
34 Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. main
via surya_layout
35 Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha main
via surya_layout
36 padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī main
via surya_layout
37 — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā main
via surya_layout
38 pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in main
via surya_layout
39 nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā main
via surya_layout
40 pā pā pā pā pā pā, dhā nī mā pā gā gā gā. main
via surya_layout
41 These varņas obtain also in the wooden20 (viņā), just as they are main
via surya_layout
174 lignes a valider — change uniquement les roles incorrects.