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 20675). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p104 RIGHT — 32 lignes

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1 ŀ annotation_inline
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2 TRANSLATION page_header
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3 191 page_number
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4 [3. Now in mālavapancama] section_header
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5 Vibhāvinī, paurālī, vegavantī, pañcamī, āndhrī and gāndhārikā alone are the main
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6 six (bhāṣās) in mālavapañcama. main
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7 (14) annotation_inline
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8 Having pañcama as the initial and concluding note vibhāvinī is born of a main
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9 region<sup>11</sup> (and) is sung in (the context of) hair - dressing (and) restrained main
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10 union with an amorous woman.<sup>12</sup> main
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11 (15) annotation_inline
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12 Illustration - Paninimāgā risānirinisārigāmāpāpāmāgārisānini main
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13 dhānīnīdhāmāpāpā. Vibhāvinī [i] editorial_bracket
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14 .....Paurālī [ii] editorial_bracket
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15 The auspicious vegavatī should be known to have pañcama as amsa, being main
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16 complete, (this) vibhāṣā is sung in karuṇa (rasa) 13 in which dainya (depression main
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17 or affliction) is profuse. main
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18 (16) annotation_inline
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19 Illustration - Pāpānidhādhāni dhāgāsāsāsāsāni dhādhāninipā main
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20 dhāmā. annotation_inline
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21 Gāgādhāmā māpāpādhā nīsāsārīgārī. Sanidhāpāpā. Vegavatī [iii] editorial_bracket
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22 Having pañcama as amsa and concluding note (and) being complete, main
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23 pañcamī is a mūlabhāṣā. It is a bhāṣā in mālavapañcama (rāga) in (the context main
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24 of) the song of (one with) a mature mind. 14 main
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25 (17) annotation_inline
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26 Illustration - Pāpāpāmāsā ririgāninidhādhā. Dhādhārinigārimāgarinīdhā main
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27 pāpāpādhā pāmāmāpā mādhānirimā gāmāgārī sāsānisāni dhāpāpā. Pañcamī main
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28 [iv] editorial_bracket
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29 Having madhyama as amśa (and) pañcama as the concluding note, andhri main
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30 is a bhāṣā born in the Āndhra region, well-known among the people (and) main
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31 is sung in (the context of) those who are corrupted by disease. 15 main
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32 (18) main
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vol_I_p034 LEFT — 31 lignes

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1 BRHADDEŚI page_header
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2 50 page_number
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3 V [ ग्राममूर्छनाप्रकरणम् ] section_header
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4 [ अनु. ३० ] editorial_bracket
parent ligne 3
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5 अथ किमुच्यते ग्रामशब्देन ? ननु कति ग्रामा भवन्ति ? main
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6 कस्मादुत्पद्यते ग्रामः कि वा तस्य प्रयोजनम्।।८४॥ main
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7 अश्रोच्यते— unknown
via fallback
8 म्समूहवाचिनौ ग्रामौ स्वरश्रुत्यादिसंयुतौ ॥८५॥ main
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9 यथा कुटुम्बिनः सर्व एकीभूत्वा वसन्ति हि। main
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10 ₀ता² annotation_inline
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11 सर्वलोकेषु स ग्रामो यत्र नित्यं व्यवस्थितिः ।।८६॥ main
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12 ₄तः annotation_inline
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13 षड्जमध्यमसंज्ञौ तु द्वौ ग्रामौ विश्रुतौ किल। main
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14 गान्धारं नारदो बूते स तु मर्त्यैर्न गीयते॥८७॥ main
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15 सामवेदात् स्वरा जाताः स्वरभ्यो ग्रामसम्भवः। main
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16 द्वावेतौ च इमौ ज्ञेयौ षड्जमध्यमलक्षितौ॥८८॥ main
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17 [ अनु. ३१ ] editorial_bracket
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18 प्रयोजनं च यथा—स्वरश्रुतिमूर्छना—तानजातिरागाणां व्यवस्थापनत्वं main
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19 o404 annotation_inline
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20 नाम प्रयोजनम्। main
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21 [ अनु. ३२ ] editorial_bracket
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22 ननु कथं षड्जमध्यमस्वराभ्यां ग्रामण्यपदेशः ? उच्यते—असाधारणत्वेन ताभ्यां main
via surya_layout
23 ग्रामण्यपदेशः। असाधारणत्वं च देवकुलसमुत्पन्नत्वेन। main
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24 ₀लोत्पन्न,<sup>5</sup> annotation_inline
parent ligne 23
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25 तथा चाह नारदः – main
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26 "देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः। main
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27 एतेपां देवता जेया ब्रह्माविष्णुमहेश्वराः॥ "6 main
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28 उभयोग्रामियोर्मध्ये मुख्यत्वं कस्य गम्यते। main
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29 ुण्युः annotation_inline
parent ligne 28
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30 षड्जस्यैव हि मुख्यत्वं गम्यते वचनान्भुनेः॥८९॥ main
via surya_layout
31 __ु•वाह्रि च __ main
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1 (vide) annotation_inline
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2 BŖHADDEŚĪ page_header
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3 162 page_number
via heuristic_pagenum
4 <sup>७८</sup>माङ्गाली <sup>७९</sup>पञ्चमान्ता च धैवतांशा प्रकीर्तिता । main
via surya_layout
5 षड्जधैवतसंवादो ८०मध्यमर्षभयोस्तथा ॥ ९२॥ main
via surya_layout
6 सम्पूर्णा च मता नित्यं ज्ञेया वै देशसम्भवा । main
via surya_layout
7 सङ्क्षीर्णा annotation_inline
parent ligne 6
via heuristic_height
8 एषा भाषा च गीतज्ञैरुक्ता पञ्चमसम्भवा ॥ ९३॥ unknown
via fallback
9 उदाहरणम् -[धाधा]सासासाधासारिरि [मिरि]धासारिरिधासाधासाधासासारिमारिमामाम- editorial_bracket
parent ligne 6
via heuristic_brackets
10 धमधपापापा धामपापमसासासानिधसा रिरिमागरिसासारिमारिमाममधमपपापापामापापमसा- main
via surya_layout
11 सानिधससारिरिगारिमारीसा। धासासाधमासासासासामपमामापापा। माङ्गाली।[३] editorial_bracket
parent ligne 10
via heuristic_brackets
12 पञ्चमांशा तदन्ता च सम्पूर्णा पञ्चमोज्ज्वला । main
via surya_layout
13 सिन्धुदेशसमुद्भूतां विभाषां सैन्धवीं विदु: ॥ main
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14 सैन्धवीषड्जसम्भूतां annotation_inline
parent ligne 13
via heuristic_height
15 षड्जपञ्चमसंवादो दृश्यते च मुहुर्मुहु:८९॥ ९४॥ main
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16 उदाहरणम् -पापाधसारिगागागरिमारि। ससानिधाधासनिधाधामसरिगागागरि साधाधमापाधापाधसारिगा - main
via surya_layout
17 रिपपारिगागारिरीसाधासाधापा मापापाधापाधापा मामामापा धाधासारीरिसाधापा मापापा । सैन्धवी ।[४] editorial_bracket
parent ligne 16
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18 गूर्जरी पञ्चमान्ता च गान्धारांशाऽल्पमध्यमा<sup>८२</sup>। main
via surya_layout
19 षड्जमध्यमसंवादा सम्पूर्णा नित्यमेव हि ॥ main
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20 ८३विभाषेयं समाख्याता सम्पूर्णा पञ्चमोद्भवा ॥९५॥ main
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21 उदाहरणम् - गरीमामामधानिधापापा धाधानीधामामामाधा गारीरीसरिगरिमाधामापा धपधनिधाधाधधप- main
via surya_layout
22 रीरी सारिमागारिमामामाघा नीधरिपघानीधापापा नीधामामामधमधमगारिरीमामारीसा सागारीमामापाधा- main
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23 नीसनीसनीधामपापा । गूर्जरी । [५] editorial_bracket
parent ligne 22
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24 ८४पञ्चमाद्यन्तसंयुक्ता दाक्षिणात्या मनोरमा । main
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25 ८५सम्पूर्ण[कथिता]होषा जाता गान्धारप[ञ्च]मे ॥ editorial_bracket
parent ligne 24
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26 ८६विभाषेयं सदा ज्ञेया देशाख्या पश्चमोद्भवा ॥ ९६। main
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27 उदाहरणम् -पापानीरी। निरिगारिगरिमामरिरिनिनिरि। धापापापपा निरिरिगरिगरिमगरिरिरि।ध - main
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28 निधधनिधाधनिधापा पानिरिरिगारिगाधामागारिरिसा निरिगामागारीनिधापापा।दाक्षिणात्या।[६] editorial_bracket
parent ligne 27
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vol_II_p014 RIGHT — 38 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 n er annotation_inline
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2 11 page_number
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3 TRANSLATION page_header
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4 the jātis (castes). Just as in human beings there are castes such as brahmin main
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5 and the like, that are both pure and mixed (or altered), similarly these jātis main
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6 are also (twofold). annotation_inline
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7 [Thus ends the general definition.] editorial_bracket
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8 [4. The tenfold lakṣaṇas or characteristics] section_header
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9 Now he (the author) spoke (speaks) about the tenfold lakṣaṇa - main
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10 Graha (initial note), amśa (fundamental note), tāra (high), mandra (low) main
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11 and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly main
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12 alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are main
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13 said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis. main
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14 The definition of this group of ten is being given in brief. main
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15 <math>(209-210)</math> annotation_inline
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16 [1. The definition of graha] section_header
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17 [Anu.119] editorial_bracket
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18 Out of these (lakṣaṇas), graha is that with which the performance of jāti main
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19 and the like is begun (lit . held or caught). That ( graha ) should be known main
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20 to have sixty-three varieties just like aniśa. main
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21 (Objection) What is the difference between graha and anisa? It is being main
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22 answered - amśa is vādī alone i.e. only the vādī 10 is prescribed to be the main
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23 amsa,but graha is fourfold according to the distinction of vādī and the like main
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24 1 page_number
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25 (samvādī, vivādī and anuvādī). Or there is the distinction of predominance main
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26 and subordination between the two. Graha is subordinate ( to amśa). main
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27 ŧ annotation_inline
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28 (Objection) Why is the predominance of amsa alone being spoken of? main
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29 Because of its being the progenitor 11 of raga (delight or colour) and main
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30 because of its being pervasive, the predominance of anisa alone (is accepted). main
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31 Although graha and anisa are predominant in all the jatis and this is proved main
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32 by utsarga<sup>12</sup> (general rule), yet it is being prescribed through the vidhi<sup>13</sup> main
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33 (operation) of samvādī and anuvādī. main
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34 Similarly said Bharata – annotation_inline
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35 "Graha is said to be like the amsa in all the jātis. The amsa that becomes the main
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36 starting point of geya (melodic organisation and performance) assumes an main
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37 alternative form as graha." main
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38 (NŚ XXVIII.67) main
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1 TRANSLATION page_header
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2 29 page_number
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3 (One should move in it) from niṣāda to gāndhāra and the omission is like that main
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4 in madhyamā. annotation_inline
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5 (228-229) main
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6 The performers should know pañcama as the amsa of gandhara-pañcami; main
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7 the same (pañcama) alongwith rṣabha is apanyāsa and gāndhāra is desired to main
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8 be the <i>nyāsa</i>. main
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9 (230) annotation_inline
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10 Whatever sañcāra (to and fro movement) and the like has been said in the main
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11 case of gandhari and then pancami, that should be known also in this main
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12 (gāndhārapañcamī), but it is always with complete svaras. main
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13 (231) annotation_inline
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14 In āndhrī, şadja, madhyama and dhaivata should be known as non-amsas. Its main
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15 ṣāḍava form is devoid of ṣaḍja and gāndhāra should be its nyāsa. main
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16 (232) annotation_inline
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17 In nandayanti, madhyama and pañcama should be known as the two main
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18 apanyāsas, gāndhāra is the graha and nyāsa, (and) pañcama is said to be the main
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19 ariisa. annotation_inline
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20 (233) main
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21 Its ṣāḍava form should be known as that of āndhrī, it has no auḍuva form. main
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22 It has sañcāra (in and around) the low rṣabha, which is also sometimes main
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23 omissible. annotation_inline
parent ligne 22
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24 (234): main
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25 ln kārmāravī, şadja, gāndhāra and madhyama are non-amsas. It has main
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26 completeness, pañcama is the nyāsa (and) there is profuse movement main
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27 towards gāndhāra. annotation_inline
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28 (235) annotation_inline
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29 In kaiśikī, ṛṣabha is non-aṁśa and the two svaras composed of two śrutis each ; main
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30 are the nyāsas. Rṣabha and dhaivata alone are to be omitted respectively (in main
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31 the şādava and audava states). main
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32 ...................................... unknown
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33 When niṣāda and dhaivata are the aṁśas then pañcama also could become ... main
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34 the nyāsa. Ŗṣabha is the apanyāsa and some have said that it is similar to amsa... main
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35 (237) main
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36 , ' , annotation_inline
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37 . . . annotation_inline
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166 lignes a valider — change uniquement les roles incorrects.