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 20655). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p048 LEFT — 27 lignes

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1 BRHADDEŠĪ page_header
via surya_layout
2 78 page_number
via heuristic_pagenum
3 १९रञ्जनाज्जायते रागो व्युत्पत्तिः समुदाहता । main
via surya_layout
4 इत्येवं रागशब्दस्य व्युत्पत्तिरभिधीयते ॥२६६॥ main
via surya_layout
5 अश्वकर्णादिवद्रुढो यौगिको <sup>१२</sup>मण्डपादिवत् । main
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6 यापि वाचकः annotation_inline
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7 मन्थवत् annotation_inline
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8 योगरूढोऽथवा रागो ज्ञेय: पङ्कजशब्दवत् ॥२६७॥ main
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9 १३ ०रूदश्च वा annotation_inline
parent ligne 8
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10 [गीति-भेदाः] section_header
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11 [तत्र मतङ्गमतम् ] section_header
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12 इदानीं सम्प्रवक्ष्यामि सप्तगीतीर्मनोहरा: । main
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13 (त ? ती) annotation_inline
parent ligne 12
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14 प्रथमा शुद्धगीति: स्याद् द्वितीया भिन्नका भवेत् ॥२६८॥ main
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15 (त ? ति:) annotation_inline
parent ligne 14
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16 तृतीयां गौडिका चैव रागगीतिश्चतुर्थिका । main
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17 साधारणी तु विज्ञेया गीतज्ञै: पञ्चमी तथा ॥२६९॥ main
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18 (त ?ति) annotation_inline
parent ligne 17
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19 भाषागीतिस्तु षष्ठी स्याद् विभाषा चैव सप्तमी । main
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20 १४गीतय: सप्त हि प्रोक्ता इदानीं भेद उच्यते ॥२७०॥ main
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21 सप्तगीत्यो मया annotation_inline
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22 [॥ इति मतङ्गमतम्॥] editorial_bracket
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23 [दुर्गशक्तिमतम्] section_header
via surya_layout
24 गीतय: पञ्च विज्ञेया: शुद्धा भिन्नाऽथ वेसरा । main
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25 ं गौडी साधारिता प्रोक्ता <sup>१५</sup>दुर्गामतिमदं मतम् ॥२७१॥ main
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26 याष्ट्रिकेन महात्मना annotation_inline
parent ligne 25
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27 ॥ <sup>१६</sup>इति दुर्गशक्तिमतम् ॥ main
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vol_II_p065 RIGHT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 113 page_number
via heuristic_pagenum
3 [5. Boţţa-rāga] section_header
via surya_layout
4 Boṭṭarāgashould be known to be born of ṣaḍjamadhyamājāti and pancamī, main
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5 has pañcama as its amsa and madhyama as the concluding note. main
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6 (324) annotation_inline
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7 [Anu. 196] section_header
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8 This means-bottarāga is related to ṣaḍjagrāma on account of being born of main
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9 şadjamadhyamā and pancamī jātis. Although it is born of two jātis arising out main
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10 of the two grāmas, yet it is related to sadjagrāma because of pañcama being main
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11 comprised of four śrutis. Pañcama is the graha and aniśa, madhyama the nyāsa. main
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12 There is sparseness of niṣāda and gāndhāra. Niṣāda is kākalī here and this main
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13 (rāga) is complete in svaras. Its application is prescribed in festivities. main
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14 Śānta<sup>69</sup> and the like is the rasa. The mūrchanā beginning with paūcama main
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15 obtains. Ārohin is the varņa. Prasannānta is the alankāra. The kalā is formed main
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16 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga), and the kalā main
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17 prevails in the citra (mārga). A tāla like caccatpuţa obtains in songs comprised main
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18 of svara and pada. annotation_inline
parent ligne 17
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19 [6. Hindola] section_header
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20 Hindolais combined with ṣaḍja as amśa and nyāsa, is devoid of dhaivata and main
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21 ṛṣabha and is formed with jātis excepting dhaivatī and ārṣabhī, in drama. main
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22 (325) annotation_inline
parent ligne 21
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23 [Anu. 197] section_header
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24 This means -hindolaka is related to madhyamagrāma. (Contention) Its main
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25 relation with the two grāmas alone is proper on account of its being born of main
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26 all the jātis (of both the grāmas) bearing the names of svaras excluding main
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27 dhaivatī and ārṣabhī and carrying the residue of relationship with ṣaḍjagrāma. main
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28 Why is it said to be based on madhyamagrāma? (Answer) On account of its main
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29 being devoid of dhaivata and ṛṣabha, its relation with madhyamagrāma alone main
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30 is justified because authorities like Bharata and Kohala have treated the main
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31 omission of dhaivata and ṛṣabha in ṣadjagrāma as undesirable.70 main
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32 Some hold that it is based in sadjagrāma alone because pañcama comprised main
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33 of four śrutis is obtained here. The inomissibility of dhaivata should be main
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34 viewed only with respect to tāna and does not hold good everywhere. This main
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35 is improper. If this be so, then there would be no distinction between grāma main
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36 and mürchanā<sup>71</sup> annotation_inline
parent ligne 35
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37 , annotation_inline
parent ligne 35
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vol_II_p120 RIGHT — 36 lignes

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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
via heuristic_brackets
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
via heuristic_short
13 Derived out of Rgveda and the like, 'coloured' with variegated sounds, main
via surya_layout
14 thus has elā been said to be fourfold by the wise, in accordance with the main
via surya_layout
15 'path'<math>^{32}</math> (order) of ganas. main
via surya_layout
16 (424) main
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17 [1. Nādāvatī] section_header
via surya_layout
18 The elā (named) nādāvatī is charming, bedecked with varņa (and) main
via surya_layout
19 alankāra, is sung with manthatāla (and) is full of nāda 33 in every foot. There main
via surya_layout
20 takkarāga becomes delightful to all. main
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21 (425) annotation_inline
parent ligne 20
via heuristic_short
22 (Its) colour should be known to be white and śṛṅgāra has been said to be main
via surya_layout
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
via heuristic_short
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
via surya_layout
27 is known to be nādāvatī, by the foregoing learned ones. main
via surya_layout
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
via surya_layout
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
via surya_layout
35 deity), ārabhaţī is the vṛtti<sup>38</sup> (and) lāṭīyā rīti<sup>39</sup> is accepted. main
via surya_layout
36 (429) main
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vol_II_p093 RIGHT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 169 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Illustration-Dhādhāsāsāgadharigārisāganirīsāsādhāsānīnīnīnī. Dhādhādhā- main
via surya_layout
4 nidhāpāpāmādhāsādhā ninidhādhāpāgāgādhāridhāmāmādhā ninidhādhā. main
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5 Dākşiņātyā [ii] editorial_bracket
parent ligne 4
via heuristic_brackets
6 Combined with dhaivata as the initial and concluding note, embellished main
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7 with thesvara gāndhāra, this bhāṣā gāndhārī has been said to be sankīrṇā. main
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8 (Mutual) movement between gändhära and dhaivata is seen here in a dense main
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9 manner. annotation_inline
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10 (107) annotation_inline
parent ligne 8
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11 Illustration - Dhādhāgāgāgāririgamagāmādhā ririririgāmāpāmā. main
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12 Māpāmāpāmāpāsagāririgāgāgādhā pādhagāgārīsāsāsā. Nisāsānigāmāpāsā main
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13 sānīgārīmāgamāgāmāmāmāmānininini. Madhādhādhādhā. Gāndhārī [iii] editorial_bracket
parent ligne 12
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14 Combined with dhaivata as the initial and concluding note, hexatonic, main
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15 devoid of pañcama, the vibhāṣā śrīkaṇṭhī, is performed in the panegyric of main
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16 Lalitā. 48 Concert between madhyama-ṛṣabha and the svaras comprised of two main
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17 śrutis each is sung. annotation_inline
parent ligne 16
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18 (108) annotation_inline
parent ligne 16
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19 Illustration-Dhānimāgāgādhā rimāgāgādhā rimāgarigāririgānināgārigādhā main
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20 ririrīnisāninidhādhā. Šrīkaņţhī [iv] editorial_bracket
parent ligne 19
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21 Having madhyama as amśa, dhaivata as the concluding note, weak in main
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22 ṛṣabha, this vibhāṣā, paurālī, is beautiful and very charming. It is sung by the main
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23 Nāga<sup>49</sup> people and is made of sweet svaras alongwith gamakas. (Mutual) main
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24 movementamong madhyama, ṛṣabha and pañcama is seen in a dense manner. main
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25 <math>(109-110)</math> annotation_inline
parent ligne 24
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26 Illustration - [Mā]pāpādhā ninisāsāmānidhā pādhādhādhādhā editorial_bracket
parent ligne 24
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27 nisāririmāgārisārimā gāsārisārimāmārigārimāsāsāsāsāninininīdhādhā main
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28 māpāmāpāpāpāniniririsānidhā pādhādhāninidhāniniririniririmāgārisā main
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29 nirisānisāsāninidhādhāgamāpādhāninisānisānidhādhā. Paurāli [v] editorial_bracket
parent ligne 28
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vol_I_p036 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 55 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in main
via surya_layout
4 respective order,22 should be known by the adept ones as being spoken of by the main
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5 (91) annotation_inline
parent ligne 4
via heuristic_height
6 word mürchanā. annotation_inline
parent ligne 4
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7 [ Anu. 36 ] editorial_bracket
parent ligne 4
via heuristic_brackets
8 That murchanā again is twofold — one composed of seven svaras and the main
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9 other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 main
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10 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), main
via surya_layout
11 auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them main
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12 pūrņā is that which is sung with seven svaras, that which is sung with six svaras is main
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13 ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with main
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14 kākalī and antara svaras, is sādhāraņā. main
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15 (Anu. 37) annotation_inline
parent ligne 14
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16 Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for main
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17 mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the main
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18 same number of) squares (kosthakas), on account of the process that follows a main
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19 set path or order. annotation_inline
parent ligne 18
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20 That is thus— annotation_inline
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21 Forty-nine squares filled25 with svaras, have, indeed, to be made with eight main
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22 (92) annotation_inline
parent ligne 21
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23 horizontal and vertical lines. main
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24 (Anu. 38) annotation_inline
parent ligne 23
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25 There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha main
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26 - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - main
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27 dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in main
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28 the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - main
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29 į annotation_inline
parent ligne 28
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30 sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the main
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31 order) in madhyama-grāma. main
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32 Thus there are the fourteen sampūrņā (complete) mūrchanās of the two main
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33 grāmas. annotation_inline
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34 sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha main
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163 lignes a valider — change uniquement les roles incorrects.