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 20727). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p105 LEFT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESĪ page_header
via surya_layout
2 192 page_number
via heuristic_pagenum
3 उदाहरणम् - मामपामा पापानिधाधा निपापानिपमा रिसानिधापामा सामाधानि धापापापा main
via surya_layout
4 सः annotation_inline
parent ligne 3
via heuristic_height
5 सापानिगारिसा निनीसानिसानिधामा मानिधापापा । आन्ध्री । [५] editorial_bracket
parent ligne 3
via heuristic_brackets
6 गान्धारांशा तु गान्धारी सम्पूर्णा पञ्चमान्तिमा । main
via surya_layout
7 विभाषा र॰सानुरो[हे च] गीयते मालपञ्चमे ॥ १९॥ editorial_bracket
parent ligne 6
via heuristic_brackets
8 (?) मालवपञ्चमे annotation_inline
parent ligne 6
via heuristic_height
9 सानुना annotation_inline
parent ligne 6
via heuristic_height
10 उदाहरणम् - गागानिनिधा धाधानिरिरिगा पमागरि रिसनीसासा । धाधासाधानी । सागासा main
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11 निधापापा । गान्धारी । [६] editorial_bracket
parent ligne 10
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12 ॥ इति शार्दुलमते[मालव] पञ्चमभाषा: समाप्ता: ॥ editorial_bracket
parent ligne 10
via heuristic_brackets
13 [४. अथ भित्रपड्जे] section_header
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14 त्रावणी षड्जभाषा च मालवी गुर्जरी तथा । main
via surya_layout
15 बाह्यषाडवकौसल्यौ गान्धारी स्वरविक्रता ॥ २०॥ main
via surya_layout
16 ॰(पौढकौसन्थ्ये ? पाडवकौसल्यौ) परवन्दिता annotation_inline
parent ligne 15
via heuristic_markers
17 लिलता निषादवती तुम्बुरुगिन्धारलिलता । main
via surya_layout
18 निषादवत्या च स्वरगान्धारवर्जिता annotation_inline
parent ligne 17
via heuristic_height
19 [कलिङ्गा चैव शुद्धा च मध्यमा पार्वती तथा] ॥ २१॥ editorial_bracket
parent ligne 17
via heuristic_brackets
20 देशाख्या त्रावणी चैव धैवतान्ताऽल्पषड्जिकारा॥ २२॥ main
via surya_layout
21 नीपोम्प च (?) गीयते annotation_inline
parent ligne 20
via heuristic_short
22 उदाहरणम् - रिरिधाधाधनी नीधाधा । मधानिरिधा धानिनिसानिनि धाधानिधामाधा । निरिधा main
via surya_layout
23 धामधा धानि रिरिनिगामागाधा मारीसानिधानिधा निधामामधा निनिरिधाधा । त्रावणी । [१] editorial_bracket
parent ligne 22
via heuristic_brackets
24 त्रीवणी annotation_inline
parent ligne 22
via heuristic_height
25 धैवताद्यन्तसंयुक्ता मूलभाषा सदुर्बला<sup>२२</sup>। main
via surya_layout
26 तु दुर्बलम् annotation_inline
parent ligne 25
via heuristic_height
27 देवताराधने गीता षड्जभाषा तु षट्स्वरा<sup>२३</sup> ॥ २३॥ main
via surya_layout
28 उदाहरणम् - धानिधाधा । सानिधाधा । समानिधा । मागागामा । निधाधा । गामागामा । main
via surya_layout
29 पा annotation_inline
parent ligne 28
via heuristic_height
30 गमाधाधा । गरिसानिधा । पमामा । पामाधानी । धाधा । षड्जभाषा । [२] editorial_bracket
parent ligne 28
via heuristic_brackets

vol_II_p101 RIGHT — 33 lignes

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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
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
via surya_layout
9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
parent ligne 8
via heuristic_brackets
10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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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
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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
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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
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
parent ligne 28
via heuristic_brackets
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_II_p024 RIGHT — 34 lignes

page vol_II_p024 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 31 page_number
via heuristic_pagenum
3 [Anu. 132] editorial_bracket
parent ligne 4
via heuristic_brackets
4 In the opinion of our guru, ṛṣabha becomes the apanyāsa, on account of its main
via surya_layout
5 being non-amśa. Some others have accepted rṣabha as apanyāsa, just like main
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6 amsa. annotation_inline
parent ligne 5
via heuristic_height
7 · Pañcama is strong in it and so is niṣāda. The graha in all (the jātis) should main
via surya_layout
8 always be known like the amśa. main
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9 (238) main
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10 [6. Indication of the gaņas or groups of the jātis] section_header
via surya_layout
11 The gaṇa (group) of all the jātis is formed with three jātis 42 in each case. main
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12 This group should be known by the wise by its definition to be with main
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13 increasing (number of) svaras. main
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14 (239) annotation_inline
parent ligne 13
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15 (This group is) with one svara, two svaras, three svaras, four svaras (all the main
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16 four are comprised of three jātis each), the one with five svaras is fourfold main
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17 (comprised of four jātis) and the two with six and seven svaras have one main
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18 variety each. annotation_inline
parent ligne 17
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19 (240) annotation_inline
parent ligne 17
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20 [Anu. 133] section_header
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21 This means that the statement that a gana (group) is formed with three main
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22 jātis is the indication of the number (which is applicable in maximum cases). main
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23 Out of these groups there is one that is formed with three (jātis) having one main
via surya_layout
24 amśa svara each viz. madhyamodicyavā, gāndhārapancamī and nandayantī-pa, main
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25 pa, pa. annotation_inline
parent ligne 24
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26 There are three (jātis) having two amśa svaras each viz. dhaivatī, main
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27 gāndhārodīcyavā and pancamī-dhari, sama, pari. main
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28 There are three jātis having three amśa svaras each viz. ārṣabhī, naiṣādī and main
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29 şadjakaiśikī-dhaniri, garini, sagapa. main
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30 There are three (jātis) with four amśa svaras each viz. şadjodīcyavatī, āndhrī main
via surya_layout
31 and kārmāravī – samadhani, rigapani, paridhani. main
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32 There are four (jātis) with five amśa svaras each, viz. ṣāḍjī, gāndhārī, main
via surya_layout
33 raktagāndhārī and madhyamā - sagamapadha, sagamapani, sagamapani, main
via surya_layout
34 sarimapadha. main
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vol_II_p047 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 [ तृतीयोऽध्याय: ] section_header
via surya_layout
3 [ रागलक्षणम् ] section_header
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4 [मङ्गलाचरणम् ] section_header
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5 भं ज्योतिस्तद्रतो हंसस्तस्मात् तं भरतं विदु:। main
via surya_layout
6 तद्भवं भरतज्ञानं तद्भवा भारती शुभा ॥ २६०॥ main
via surya_layout
7 (वं) annotation_inline
parent ligne 6
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8 [रागलक्षणम्, रागशब्दव्युत्पत्तिश्च] section_header
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9 [नारद उवाच ?] section_header
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10 किमुच्यते रागशब्देन किं वा रागस्य लक्षणम् । main
via surya_layout
11 व्युत्पत्तिलक्षणं तस्य यथावद् वक्तुमर्हसि ॥२६१॥ main
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12 मतङ्ग उवाच - annotation_inline
parent ligne 11
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13 रागमार्गस्य यद्रूपं यन्नोक्तं भरतादिभि:। main
via surya_layout
14 निरूप्यते तदस्माभिर्लक्ष्यलक्षणसंयुतम् ॥२६२॥ main
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15 तत्रादौ - annotation_inline
parent ligne 14
via heuristic_short
16 १स्वरवर्णविशेषेण ध्वनिभेदेन वा पुन:। main
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17 <sup>२</sup>。विशिप्टेन main
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18 रज्यते येन रसिच्चत्तं स रागः सम्मतः सताम् ॥२६३॥ main
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19 यः कश्चित् annotation_inline
parent ligne 18
via heuristic_height
20 अथवा - main
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21 योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषित:। main
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22 • annotation_inline
parent ligne 21
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23 <sup>४</sup>विशेपित: annotation_inline
parent ligne 21
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24 रञ्जको जनचित्तानां स च राग उदाहृत: ॥२६४॥ main
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25 > annotation_inline
parent ligne 24
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26 <sup>५</sup>स रागः कथितो बुधैः main
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27 सामान्यं च ६विशेषं च लक्षणं द्विविधं मतम् । main
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28 <sup>७</sup>विशेषध annotation_inline
parent ligne 27
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29 ८द्विविधं लक्षणं main
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30 चतुर्विधं तु सामान्यं 'विशेषञ्चांशकादिकम् ॥२६५॥ main
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31 १०च annotation_inline
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32 विशेषश्चांश annotation_inline
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vol_I_p103 RIGHT — 49 lignes

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1 VIMARŚA page_header
via surya_layout
2 189 page_number
via heuristic_pagenum
3 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that list_item
via surya_layout
4 whatever pattern is established in an alankāra it should be followed all-through. list_item
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5 If varna is taken to stand for syllabic unit, then the conflict and its prohibition list_item
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6 become clear. list_item
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7 118. Using an alankāra without a varņa ( melodic movement ) is a list_item
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8 contradiction in itself; here also, as above (note 117) the idea seems to be that list_item
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9 an alankāra should not be used without establishing a definite pattern. Here list_item
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10 varna as a syllabic unit does not seem to be relevant. list_item
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11 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alankāra in list_item
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12 relation to varna (the syllabic unit) have been figuratively spoken of as—(i) list_item
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13 the alankāra makes the varņa bright or brilliant ( like the moon ), (ii) it list_item
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14 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom list_item
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15 (like a flower on a creeper) and (iv) it makes the varna colourful or delightful list_item
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16 (like an ornament on a woman). list_item
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17 120. It is notable that all illustrations begin with sadja and do not extend list_item
via surya_layout
18 beyond the tāra şadja. list_item
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19 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. list_item
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20 Section VII ( Pada-giti ) section_header
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21 1,2,3. Giti literally means song or the act of singing, but here it stands for list_item
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22 specific pattern of singing with reference to the text of the song as manifest in list_item
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23 its syllabic units (akşara) and metre (chandas). NŠ mentions only these four list_item
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24 gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to list_item
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25 distinguish between these two types of gitis, the first type being related to the list_item
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26 rendering of text and the second type being related to the rendering of raga, we list_item
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27 have qualified the gitis under reference with pada, and the gitis of raga list_item
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28 classification will be qualified with svara or raga. list_item
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29 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means list_item
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30 descent (of svaras); here it means repetition. list_item
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31 5. Nivitta lit. means receded or held back as opposed to pravitta meaning list_item
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32 proceeded or set forth. Here it means accomplished or completed. list_item
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33 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system list_item
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34 which represent three 'degrees' of length of a given tāla-cycle, depending on list_item
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35 the duration of kalā or standard time-unit, as follows - list_item
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36 Duration of kalā section_header
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37 Name of marga section_header
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38 2 mātrās annotation_inline
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39 1. Citra main
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40 4 mātrās annotation_inline
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41 2. Vārtika or vṛtti main
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42 8 mātrās annotation_inline
parent ligne 41
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43 3. Daksina unknown
via fallback
44 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika main
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45 and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 main
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46 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three main
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47 (vide) annotation_inline
parent ligne 46
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48 T 1 annotation_inline
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49 (vide) annotation_inline
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178 lignes a valider — change uniquement les roles incorrects.