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 20743). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p019 LEFT — 32 lignes

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1 BRHADDESI page_header
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2 20 page_number
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3 नानाबुद्धिप्रसाध्यत्वात् स्वरश्रुत्योस्तु भिन्नता। main
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4 ₀गृहीत｡<sup>72</sup> annotation_inline
parent ligne 3
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5 आश्रयाश्रयिभेदाच्च तादात्म्यं नैव सिध्यति ॥३६॥ main
via surya_layout
6 7 अकेन annotation_inline
parent ligne 5
via heuristic_short
7 यदभाणि विवर्तत्वं स्वराणां न तदसङ्गतम्। main
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8 श्रुतीना74 annotation_inline
parent ligne 7
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9 विवर्तत्वे स्वराणां हि भ्रान्तिज्ञानं प्रसज्यते ॥३७॥ main
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10 ₀त्वात्<sup>75</sup> annotation_inline
parent ligne 9
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11 कार्यकारणभावस्तु स्वरश्रुत्योर्न सम्भवेत्। main
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12 श्रुतीनामिह सद्भावे प्रमाणं नैव विद्यते ।।३८।। main
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13 ₀व76 annotation_inline
parent ligne 12
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14 अर्थापत्त्या यदि वा व्याप्तिग्रहणपूर्वकप्रमाणबलात्। main
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15 77ग्रहपूर्वक annotation_inline
parent ligne 14
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16 सिद्ध [:] स्वरजनकानां गगनगुणानां स्वरो भेदः ॥३९॥ editorial_bracket
parent ligne 14
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17 सत्यम् । main
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18 कार्यकारणभेदोऽस्ति यद्यपि स्फुटमेव हि। main
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19 तथापि कारणत्वं च श्रुतीनां नैव सम्भवेत् ॥४०॥ main
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20 ਚ78 annotation_inline
parent ligne 19
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21 कार्येषु विद्यमानेषु कारणस्योपलम्भनात्। main
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22 घटादौ विद्यमाने तुः मृत्पिण्डो नोपलभ्यते ॥४१॥ main
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23 79fH annotation_inline
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24 805<del>4</del> main
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25 825<del>0</del>23° annotation_inline
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26 परिणामोऽभिव्यक्तिस्तु न्याय्यः पक्षः सतां मतः। main
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27 <sup>83</sup>्मा<sub>॰</sub> <sup>84</sup>ह्यभिव्यक्तिः annotation_inline
parent ligne 26
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28 <b>65,च्यः      ६६,न्य</b>ि main
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29 इति तावन्मया प्रोक्तं तादात्म्यादिविकल्पनम् ॥४२॥ main
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30 [ अनु. १२ ] editorial_bracket
parent ligne 29
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31 ननु श्रुतीनां द्वाविशतिप्रकारता यत्तदप्यसङ्गतम् श्रुतीनां श्रुत्यवयवानां main
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32 चानु [प]लम्भात्। editorial_bracket
parent ligne 31
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vol_II_p121 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 225 page_number
via heuristic_pagenum
3 The lineage of kṣatriyas is there and the rasa has been said to be raudra. main
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4 Where there are five analoganas <math>^{40}</math> and the sixth is a vāyugana, <math>^{41}</math> lo! that elä main
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5 is known to be <i>hamsāvatī</i>, by the experts in music. main
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6 (430) main
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7 [3. Nandāvatī] section_header
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8 Combined with small gamakas in mālavakaišika rāga, the nandāvatī elā is main
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9 sung in <i>pratitāla</i>. main
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10 (431) annotation_inline
parent ligne 9
via heuristic_short
11 Indrāņī is the devatā (presiding deity), sāttvatī is the vṛtti<sup>42</sup> spoken of here, main
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12 gaudi is the <math>riti^{43}</math> spoken of (and) yellow is the colour accepted by the wise. main
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13 (432) annotation_inline
parent ligne 12
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14 Vīra is the rasa that is said to be, (this clā) is born of the lineage of vaisyas. main
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15 Everything (else) beginning with rāga should be done as in nādāvatī. main
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16 (433) annotation_inline
parent ligne 15
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17 Where there are five <math>ambara</math>-gaņas, <math>^{44}</math> combined with <math>m\bar{a}rta\eta daga\eta as^{45}< main
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18 should be known as nādāvatī elā by the experts in music. main
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19 (434) main
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20 [4. Bhadrāvatī] section_header
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21 Structured with padas one by one, brimming with mūrchanā 46 sounds, main
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22 combined with kańkāla tāla, it is sung in kakubha (rāga). main
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23 (435) annotation_inline
parent ligne 22
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24 Bhadrāvatī elā is born of the śūdra caste and should be known to be of black main
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25 colour, being bedecked with vaidarbhī rīti.47 main
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26 (436) annotation_inline
parent ligne 25
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27 Combined with bhāratī vṛtti 48 and embellished with bībhatsa rasa, it is said main
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28 to be endowed with vārāhī devatā,49 by those adept in music. main
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29 (437) annotation_inline
parent ligne 28
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30 Where there are five <math>bh\bar{u}mi</math>-gaņas<sup>50</sup> and similarly the sixth is <math>jalagaņa_i^{51}</math> main
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31 that is known by the best among munis to be famous as bhadrāvatī. main
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32 (438) main
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vol_II_p052 RIGHT — 34 lignes

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1 87 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 Şāḍava, pañcama, similarly kaiśikamadhyama, cokṣasādhārita and similarly, main
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4 also cokṣakaiśika, these should be known as cokṣa (pure). Now listen about main
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5 the bhinnaones. annotation_inline
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6 (293) annotation_inline
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7 Bhinnaṣadja ,(bhinna-) tāna, bhinnakaiśikamadhyama, the one named main
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8 bhinnapañcama, and the fifth is bhinnakaiśika. main
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9 (294) annotation_inline
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10 One is gaudapañcama, gaudakaiśika and also gaudakaiśika madhyama, are main
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11 said to be the three gaudas. main
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12 (295) annotation_inline
parent ligne 11
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13 Ţakkarāga, similarly sauvīra, mālavapancama, ṣāḍava and boṭṭarāga, similarly main
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14 the other one is hindolaka, ţakkakaiśika has thus been said, similarly main
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15 mālavakaišika - these rāgas (pertaining to the rāgagīti) have been spoken of main
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16 by their names, by the excellent munis. main
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17 <math>(296-297)</math> annotation_inline
parent ligne 16
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18 Narta, the one named śaka, kakubha, similarly harmāṇapañcama and main
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19 itself, similarly gändhärapañcama and the one named main
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20 rūpasādhārita annotation_inline
parent ligne 19
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21 ṣaḍjakaiśika are known as the seven sādhāraṇa (rāgas). main
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22 (298) annotation_inline
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23 [Thus is the number and nomenclature of rāgas] editorial_bracket
parent ligne 21
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24 [The specific description of ragas] section_header
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25 [A. Out of them śuddharagas] section_header
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26 Now he (the author) has spoken about the description of suddha (rāgas)- main
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27 Those that are in accordance with their 'own' jāti 31 (from which they are main
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28 born), without any reference to other jātis and those that are one out of the main
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29 many (individual forms) of their own jāti, they are called śuddha (rāgas). main
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30 (299) annotation_inline
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31 [1. Suddhaşādava] section_header
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32 [Anu. 164] editorial_bracket
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33 Why is sadava so called? Is it because it is sung with six svaras and is hence main
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34 ṣāḍava or is it ṣāḍava on account of being prominent among the six rāgas? main
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vol_I_p016 RIGHT — 33 lignes

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1 15 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 "Some who are adept in the knowledge of śrutis, speak of twenty-two śrutis; main
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4 some (speak of them) as being differentiated into sixty-six. Others propound main
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5 their infinity itself." annotation_inline
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6 (Anu. 7) annotation_inline
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7 But then, what is the measure of śruti? It is being explained. Pañcama is main
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8 known as being seated in the two grāmas.19 The difference of that (pañcama) main
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9 through utkarşa 20 (augmentation) and apakarşa 21 (diminution) through main
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10 mārdava 22 (lit. softness) and āyatatva 23 (lit. the state of being stretched or main
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11 extended) is the measure of śruti (lit. śruti is of that measure). main
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12 (Anu. 8) annotation_inline
parent ligne 11
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13 Now the nidarsana 24 (demonstration) of the twenty-two-fold nature of srutis main
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14 is thus (being given). Having made two viņās equal in measure,25 string,26 main
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15 upavādana 27 (the place where the strings are tied up at the lower end of the main
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16 viņā), daņļa28 (rod or board) and mūrchanā29 (tuning), they (two viņās) should main
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17 be established in şadjagrāma.50 On one of these, having made the śruti main
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18 madhyamagrāmiki31 (belonging to madhyama-grāma) on account of the apakarşa main
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19 (lowering) of pañcama, (one) should make the same śruti şadjagrāmikī 32 main
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20 (belonging to sadjagrāma) on account of pañcama.35 Thus (the vinā) becomes main
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21 lowered by (one) śruti, but there is no special gain,34 because of there being main
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22 only the perception of high and low. Again one should lower in the same main
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23 manner<sup>35</sup> so that gāndhāra and niṣāda that are the subjects (kartṛ in dual no.) main
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24 on one viņā will 'enter' the rabha-dhaivata 36 that have attained objectification main
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25 (karmatā) on the unchanged (sthirā) viņā on account of their (of gāndhāra- main
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26 niṣāda) being 'more's7 (higher) by two śrutis (each, in relation to ṛṣabha- main
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27 dhaivata). Again also, the dhaivata-ṛṣabha on the cala (mobile) viṇā that is main
via surya_layout
28 lowered in the same manner, will enter the pañcama-şadja on the other (viņā), main
via surya_layout
29 on account of their being 'more's8 (higher) (than the latter) by three śrutis main
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30 (each). Again also, on the (cala) viņā that is lowered in the same way, pañcama, main
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31 madhyama and şadja enter madhyama, gandhara and nişada respectively on the main
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32 other on account of their being 'more'39 (higher) (than the latter) by four main
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33 śrulis. annotation_inline
parent ligne 32
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vol_I_p065 RIGHT — 43 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 113 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Sampradana is said here to be in the order of a gap after each svara; 105 (it is) main
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4 like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in main
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5 (158) annotation_inline
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6 due course. 107 annotation_inline
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7 Hasita (is known as such as it) is pronounced in a manner similar to main
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8 1 page_number
via heuristic_pagenum
9 laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka main
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10 (159) annotation_inline
parent ligne 9
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11 by the wise, being made up of gapless svaras. main
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12 (That which) ascends in gapless svaras like hasita with three or four svaras main
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13 (in each phrase) in ekakala 109 (form), should be known as one named hunkāra. main
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14 (160) annotation_inline
parent ligne 13
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15 Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is main
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16 catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending main
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17 (161) annotation_inline
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18 another sthana (register). annotation_inline
parent ligne 16
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19 1 page_number
via heuristic_pagenum
20 In the beginning, after having pronounced a pada 112 (syllabic unit) where main
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21 there is a short varna 113 (?) composed of two svaras and (which) ascends in one main
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22 (162) annotation_inline
parent ligne 21
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23 kalā (phrase) without a gap that is vidhuta. main
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24 In the beginning it is arohin; (like) prastara where there is descent main
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25 according to definite measure (pramāṇa),114 that is said to be udgīta alankāra. main
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26 (163) annotation_inline
parent ligne 25
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27 One should ascend (in) gapless svaras like hunkāra in the other two kalās main
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28 (phrases) there are two svaras each that are shaking 115 and then there are two main
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29 (164) annotation_inline
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30 lower svaras. annotation_inline
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31 Thus should be known gatravarna in the prescription (vidhi) of varna and main
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32 alankāra. With ākāra 116 and okāra other long syllables should also be combined. main
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33 (165) annotation_inline
parent ligne 32
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34 ı annotation_inline
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35 Thus has been indicated the prescription about alankarana (ornamentation main
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36 or the act of 'making adequate') pertaining to the alankara of gita (melodic main
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37 rendering). The giti musical rendering should be ornamented with these main
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38 (166) annotation_inline
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39 without conflicting with the varna.117 main
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40 One should 'do' (use) an alankāra at the proper place; one should not tie main
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41 the kānci (ornament for the waist) on the bosom. There could be many main
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42 (167) annotation_inline
parent ligne 41
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43 alankāras, they should not be used without varņa.118 main
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174 lignes a valider — change uniquement les roles incorrects.