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 20679). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p034 RIGHT — 35 lignes

page vol_I_p034 RIGHT
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1 51 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 V (the Section on Grāma-mūrchanā) section_header
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4 [The treatment of grama] section_header
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5 (Anu. 30) annotation_inline
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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
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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
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18 ٠ page_number
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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
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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
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26 But why are the gramas named after the svaras sadja and madhyama? It is main
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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
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vol_II_p084 RIGHT — 34 lignes

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1 151 page_number
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2 TRANSLATION page_header
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3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
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5 dhāsāsāgāgadhari. annotation_inline
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6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
parent ligne 3
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7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
parent ligne 3
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8 Combined with şadja as the initial and concluding note, has concert of main
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9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
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10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
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11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
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12 (regional). annotation_inline
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13 (65) annotation_inline
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
via surya_layout
15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
via surya_layout
16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
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18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
parent ligne 17
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19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
via surya_layout
20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
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21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
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22 knowledgeable ones in music. main
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23 (66) annotation_inline
parent ligne 22
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24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
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25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
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26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
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27 Sanisasā. Māṅgālī [iv] editorial_bracket
parent ligne 26
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
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31 name of deśa (region), being born of the Sindhu region. main
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32 (67) annotation_inline
parent ligne 31
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33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
via surya_layout
34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
parent ligne 33
via heuristic_brackets

vol_II_p103 RIGHT — 32 lignes

page vol_II_p103 RIGHT
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1 TRANSLATION page_header
via surya_layout
2 189 page_number
via heuristic_pagenum
3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
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4 Ravicandrā [ii] editorial_bracket
parent ligne 3
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5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
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6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
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7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
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8 (10) annotation_inline
parent ligne 7
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9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
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10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
parent ligne 9
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11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
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12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
parent ligne 13
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15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
via surya_layout
16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
parent ligne 15
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
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18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
parent ligne 18
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
via surya_layout
22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
via surya_layout
23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
via heuristic_brackets
24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
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28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
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29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
parent ligne 29
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
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32 the opinion of Śārdūla. main
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vol_II_p129 LEFT — 28 lignes

page vol_II_p129 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 240 page_number
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3 [४३. वर्णस्वर:] section_header
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4 निबद्धो हस्तपाटैर्य: संयुतस्तेनकै: पुन:५१। main
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5 संयुतैस्तैर्नकै: annotation_inline
parent ligne 4
via heuristic_short
6 स्वरै: पदैश्च पाटैश्च तेनकैश्च समन्वित: ॥ main
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7 तेन्त्र॰ annotation_inline
parent ligne 6
via heuristic_markers
8 गीयते तालयुक्तो य: स वर्णस्वरक: स्मृत: ॥ ४८६॥ main
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9 वर्णासरक: annotation_inline
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10 [४४. मुक्तावली] section_header
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11 देशिकारपदै रम्यै: सानुप्रासै: प्रगीयते । main
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12 नामानुवर्णनीयस्य सा मुक्तावलिसंज्ञिता ॥ ४८७॥ main
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13 [४५. प्रतापवर्धन:] section_header
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14 उत्साहजननै: पाटै: स्वरैश्चापि सुसंयुत: । main
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15 ॰कै: पार्द: स्वरैध + annotation_inline
parent ligne 14
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16 तेनकैर्बिरुदैर्यत्र वर्णनीयस्य गीयते ॥ main
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17 तेन्तकै॰ annotation_inline
parent ligne 16
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18 प्रतापवर्धनो नाम प्रबन्धः परिकीर्तितः ॥ ४८८॥ main
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19 (तो?नो) annotation_inline
parent ligne 18
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20 अष्टाभिरधिका रम्याश्चत्वारिंशदिति स्फुटम् ॥ ४८९॥ main
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21 [गीतदोषाः] section_header
via surya_layout
22 लोकदुष्टं शास्त्रदुष्टं पुनरुक्तं च वर्जयेत्। main
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23 ॰शास्त्र +++ पञ्च annotation_inline
parent ligne 22
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24 छन्दोदुष्टं[?] तथा ग्राम्यं गतक्रममपार्थकम् ॥ editorial_bracket
parent ligne 22
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25 + गोदुष्टं main
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26 पदं चार्थं तु सन्दिग्धं कलाबाह्यं विभक्तकम् <sup>५२</sup>॥ ४९०॥ main
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27 काप्यमसन्दिग्धं annotation_inline
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28 चाभ्यशि ॰ annotation_inline
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vol_II_p083 RIGHT — 33 lignes

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1 4 - 1 annotation_inline
parent ligne 4
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2 149 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 [ Vibhāṣā of ṭakkarāga] section_header
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5 Having pañcama as amsa and sadja as the concluding note, being main
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6 embellished with madhyama, potā is a vibhāṣā born of ṭakkarāga and is sung main
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7 at the end of the bhāṣās. annotation_inline
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8 (61) annotation_inline
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9 Illustration - Pāpānīsāsānīsārīmā dhārīdhāpāpāmāgāgā. main
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10 Sāgāsāgāgādharigarigarimā. Mamamaga. Garisānīdhādhā sāgāgā. Gā rī gā rī. main
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11 Sāsāgāmā nīdhādhāpāmārīsāsā gānīdhānī sāsāpāsā. Potā. main
via surya_layout
12 [2. Bhāṣās in mālavakaiśika] section_header
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13 Paurālī is born of <math>deśa^{24}</math>, i.e., is a regional variety, is combined with şadja main
via surya_layout
14 as the initial and concluding note, is complete in svaras (and) has profuse main
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15 șadja and madhyama. This bhāṣā should be known as the first one in main
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16 mālavakaišika (used as mālakaišika in the text due to exigency of metre) of main
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17 madhyama (grāma). annotation_inline
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18 (62) annotation_inline
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19 Illustration - Samā. Gāgāgāgāpāpā. Māmāgāgā. Sāmāmāmāmā. Māmā. main
via surya_layout
20 Māmārīrī. Rigāgārīsāsāsārī. Magasāsāmāgārīsānī. Sāsā. Paurālī. main
via surya_layout
21 Šuddhāhas madhyama as amśa, ṣadja as the concluding note, is a vibhāṣā, main
via surya_layout
22 complete in svaras, is associated with 'merriment' and is sung in mālavakaišika. main
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23 (63) annotation_inline
parent ligne 22
via heuristic_height
24 Illustration - Māmādhāsāgārīsāsā. Nidhāsāsādhānimāmādhānīsā. Rigāmāsā. main
via surya_layout
25 Sādhāmāgārigāsāsā. Suddhā [i] editorial_bracket
parent ligne 24
via heuristic_brackets
26 Ardhavesarī has madhyama as amśa and ṣadja as the concluding note, is main
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27 complete, weak in niṣāda and has profuse ṣaḍja and madhyama. This bhāṣā main
via surya_layout
28 should always be known as sankīrņā (mixed), by the knowledgeable ones in main
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29 gändharva. annotation_inline
parent ligne 28
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30 (64) annotation_inline
parent ligne 28
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31 Pāpāmāmā. annotation_inline
parent ligne 28
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32 Illustration - Māmāgāmāsāsā. Sāmāpāpādhāsādhā. main
via surya_layout
33 Gamagamāga. Sāsāsāsā. Gāmāpapādhapādhamapāmā. Gamagamagarīsā main
via surya_layout
162 lignes a valider — change uniquement les roles incorrects.