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 20744). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p119 RIGHT — 27 lignes

page vol_II_p119 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 221 page_number
via heuristic_pagenum
3 [33. Dvipadī] section_header
via surya_layout
4 That which is (performed) with karaṇa tāla and composed in the dvipadī main
via surya_layout
5 metre, that is said to be dvipadī by those adept in vastu.<sup>29</sup> main
via surya_layout
6 (414) main
via surya_layout
7 [34. Vartanī] section_header
via surya_layout
8 Where graha and nyāsa are used only according to ańiśa, where the name main
via surya_layout
9 of the object of (glorified) description (divine or human) and that of the main
via surya_layout
10 singer (composer) is put in (and) that which is sung with svaras in a tāla main
via surya_layout
11 other than kankāla, pratitāla, druta (fast) maņțha, (and) kudukkaka, is held main
via surya_layout
12 to be vartani. annotation_inline
parent ligne 11
via heuristic_short
13 (415-416) main
via surya_layout
14 [35. <i>Elā</i>] section_header
via surya_layout
15 Where the first two feet are 'coloured' (embellished) with anuprāsa main
via surya_layout
16 (alliteration), there is anuprāsa 30 in the third or fourth foot or there is no main
via surya_layout
17 anuprāsa in these two (feet) and the fifth (foot) is with anuprāsa, where four main
via surya_layout
18 gītis find place in each foot, (and) after having sung one-half of its foot, main
via surya_layout
19 anuprāsa is arranged; where there is the description of renunciation, well- main
via surya_layout
20 being or prosperity, beauty, valour, steadfastness etc., that is called <i>clā</i> by the main
via surya_layout
21 experts in music. annotation_inline
parent ligne 20
via heuristic_short
22 <math>(417-419)</math> main
via surya_layout
23 It is always to be sung within the <i>gīta-vastus</i>, in combination with <i>tālas</i> like main
via surya_layout
24 maṇṭha, dvitīya, kaṅkāla and similarly elā should be combined with pratitāla main
via surya_layout
25 by the wise. That (clā) is marked with the name of the object of description main
via surya_layout
26 and the singer (composer). main
via surya_layout
27 <math>(420-421)</math> main
via surya_layout

vol_I_p070 RIGHT — 34 lignes

page vol_I_p070 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 123 page_number
via heuristic_pagenum
3 <b>TRANSLATION</b> page_header
via surya_layout
4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
via surya_layout
5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
via surya_layout
6 performer), and vartini is moved downwards, visarjitā is moved outwards main
via surya_layout
7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
via surya_layout
8 (179, 180) annotation_inline
parent ligne 7
via heuristic_height
9 upwards, (and) patită reaches (touches) the ground. main
via surya_layout
10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
via surya_layout
11 two viz. kṛṣṇā and padmini27 are also (used). main
via surya_layout
12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
via surya_layout
13 (181) annotation_inline
parent ligne 12
via heuristic_height
14 (Anu. 108) annotation_inline
parent ligne 12
via heuristic_height
15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
via surya_layout
16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
via surya_layout
17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
via surya_layout
18 having the predominance of both is vitti vitti, (and) having the predominance main
via surya_layout
19 of instrument is citrā vṛtti. main
via surya_layout
20 (Anu. 109) annotation_inline
parent ligne 19
via heuristic_height
21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
via surya_layout
22 temporal components in vittis) brought about by pāņi.51 It has been said — main
via surya_layout
23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
via surya_layout
24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
via surya_layout
25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
via surya_layout
26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
via surya_layout
27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
via surya_layout
28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
via surya_layout
29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
via surya_layout
30 (Anu. 110) annotation_inline
parent ligne 29
via heuristic_height
31 The vādya (presentation on instruments) should be done with sama, atīta main
via surya_layout
32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
via surya_layout
33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
via surya_layout
34 110 page_number
via heuristic_pagenum

vol_I_p069 RIGHT — 32 lignes

page vol_I_p069 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 121 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. main
via surya_layout
4 With this prescription itself the gitis should be sung by the wise. main
via surya_layout
5 (175) annotation_inline
parent ligne 4
via heuristic_height
6 (Anu. 105) annotation_inline
parent ligne 4
via heuristic_height
7 In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- main
via surya_layout
8 mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of main
via surya_layout
9 the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself main
via surya_layout
10 on account of the use of eight-mātrā (units). main
via surya_layout
11 In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) main
via surya_layout
12 composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) main
via surya_layout
13 twice retreated;16 ardhamāgadhī is (completed) in half of that.17 main
via surya_layout
14 (176) annotation_inline
parent ligne 13
via heuristic_height
15 Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa main
via surya_layout
16 (177) annotation_inline
parent ligne 15
via heuristic_height
17 (mārga). main
via surya_layout
18 As - table
via surya_layout
19 Māgadhī [-----] table
via surya_layout
20 Ardhamāgadhī [-----] table
via surya_layout
21 Sambhāvitā [-----] table
via surya_layout
22 Pythulā [-----] table
via surya_layout
23 (Anu. 106) annotation_inline
parent ligne 17
via heuristic_height
24 In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 main
via surya_layout
25 (lit. past) graha, in citra mārga there is anāgata<sup>22</sup> (lit. future) graha. main
via surya_layout
26 (Anu. 107) annotation_inline
parent ligne 25
via heuristic_height
27 In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā main
via surya_layout
28 (are the margas). annotation_inline
parent ligne 27
via heuristic_short
29 The mātrās (to be used in them) are eight, four and two (respectively). As main
via surya_layout
30 — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and main
via surya_layout
31 (178) annotation_inline
parent ligne 30
via heuristic_height
32 patitā is known to be the eighth one. main
via surya_layout

vol_I_p055 RIGHT — 36 lignes

page vol_I_p055 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 93 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 (Anu. 75) annotation_inline
parent ligne 4
via heuristic_height
4 Where, having 'stayed' (stopped) for a long time at one svara in the form of main
via surya_layout
5 șadja and the like, having touched the octave36 (tara) of that like fire and main
via surya_layout
6 having stayed there for one (short) time-unit<sup>37</sup> (kalā), suddenly the 'low' (svara) main
via surya_layout
7 is reached, that is bindu. As - sā sa - sā. Thus is (ends) bindu. main
via surya_layout
8 <b>(6)</b> annotation_inline
parent ligne 7
via heuristic_height
9 (Anu. 76) annotation_inline
parent ligne 7
via heuristic_height
10 Having touched (a svara) for the interval of one kalā (time-unit), on main
via surya_layout
11 account of the pronunciation of (svaras) in the reverse order of bindu, (the main
via surya_layout
12 alankāra) named nivīttapravītta (comes into being). As - sā sā sā. thus ends main
via surya_layout
13 <b>(7)</b> annotation_inline
parent ligne 12
via heuristic_height
14 nivṛttapravṛtta. annotation_inline
parent ligne 12
via heuristic_height
15 (Anu. 77) annotation_inline
parent ligne 12
via heuristic_height
16 Veņu is with seven kalās 40 (phrases) in the order of ascent and descent, like main
via surya_layout
17 ākrīḍita 11 (playful way?). sarigamapadhani nidhapamagarisa. Thus is (ends) veņu. main
via surya_layout
18 (8) annotation_inline
parent ligne 17
via heuristic_height
19 (Anu 78) annotation_inline
parent ligne 17
via heuristic_height
20 On account of the shake of (svara having) three srutis in the lower heptad, main
via surya_layout
21 kampita (is formed), that is composed of three kalās (time-units). As - main
via surya_layout
22 <b>(9)</b> annotation_inline
parent ligne 21
via heuristic_height
23 sarigamapadhanisa,42 thus is (ends) kampita. main
via surya_layout
24 (Anu. 79) annotation_inline
parent ligne 23
via heuristic_height
25 On account of the shake of (svara having) three śrutis 43 in the middle main
via surya_layout
26 heptad kuharita (is formed), that is composed of three kalās. As - main
via surya_layout
27 (10) annotation_inline
parent ligne 26
via heuristic_height
28 sarigamapadhanisa.44 Thus is (ends) kuharita. main
via surya_layout
29 (Anu. 80) annotation_inline
parent ligne 28
via heuristic_height
30 On account of the shake of (svara having) three śrutis in the higher main
via surya_layout
31 heptad, recita (is formed), that is composed of three kalās. As - main
via surya_layout
32 (11) annotation_inline
parent ligne 31
via heuristic_height
33 sarigamapadhanisa 45 Thus is (ends) recita. main
via surya_layout
34 (Anu. 81) annotation_inline
parent ligne 33
via heuristic_short
35 Prenkholita is with fourteen kalās 16 (phrases) on account of 'going' (ascent) main
via surya_layout
36 and 'coming' (descent) of (groups of) two or more svaras, in equal temporal main
via surya_layout

vol_I_p050 RIGHT — 44 lignes

page vol_I_p050 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
via surya_layout
4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
via surya_layout
5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
via surya_layout
6 the arrangement of mandra (low) and tara (high) through the sounds of the main
via surya_layout
7 voice that are particularised by medium sounds i.e. that belong to the medium main
via surya_layout
8 category.59 annotation_inline
parent ligne 7
via heuristic_height
9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
via surya_layout
10 [The murchana of twelve svaras] section_header
via surya_layout
11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
via surya_layout
12 (Anu. 61) annotation_inline
parent ligne 11
via heuristic_height
13 Because the treatment of murchanas has been said to be for the sake of main
via surya_layout
14 obtaining the three sthanas and it has also been said that this (treatment) is for main
via surya_layout
15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
via surya_layout
16 being composed of twelve svaras during performance.60 main
via surya_layout
17 Similarly has said Kohala - annotation_inline
parent ligne 16
via heuristic_height
18 "The order (of svaras) should always be arranged by the wise according to main
via surya_layout
19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
via surya_layout
20 after having established the murchanā."61 main
via surya_layout
21 Nandikeśvara has also said— annotation_inline
parent ligne 20
via heuristic_height
22 "The murchanas should be known by the wise to be composed of twelve svaras main
via surya_layout
23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
via surya_layout
24 sake of the establishment of tara (high), mandra (low) and the like."62 main
via surya_layout
25 (Anu. 62) annotation_inline
parent ligne 24
via heuristic_height
26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
via surya_layout
27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
via surya_layout
28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
via surya_layout
29 have been there and if this were the case, that raga could not be formulated. main
via surya_layout
30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
via surya_layout
31 and mandra. The performance of other ragas would also be destructive (of their main
via surya_layout
32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
via surya_layout
33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
via surya_layout
34 with twelve svaras). That is thus -63 main
via surya_layout
35 Uttaramandrā (1) annotation_inline
parent ligne 34
via heuristic_height
36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
via surya_layout
37 Rajani (2) annotation_inline
parent ligne 36
via heuristic_height
38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
via surya_layout
39 Uttarāyatā (3) annotation_inline
parent ligne 38
via heuristic_height
40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
via surya_layout
41 Śuddhasadjā (4) annotation_inline
parent ligne 40
via heuristic_height
42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
parent ligne 40
via heuristic_height
43 Matsarikṛtā (5) annotation_inline
parent ligne 40
via heuristic_height
44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
via surya_layout
173 lignes a valider — change uniquement les roles incorrects.