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 20764). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p059 RIGHT — 34 lignes

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1 101 page_number
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2 TRANSLATION page_header
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3 remaining svaras, udghațțita is composed of eighteen kalās (phrases). As - main
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4 sarimapa pamarisa, rigapadha dhapagari, gamadhani nidhamaga, mapanisu 66 main
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5 sanipama, padhanisa; sanipama mapanisa, nidhamaga gamadhani, dhapagari main
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6 rigamadha, pamarisa sarimapa, magarisa. Thus is (ends) udghattita. (25) main
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7 (Anu. 95) annotation_inline
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8 Aksiptaka (is formed) with the measure of kalās (time-units) starting with main
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9 one-kalā-unit 67 (and extending) upto six-kalā - unit with three svaras in the main
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10 ascending order (in each phrase). As - sarigā nu, rigamā nu, gamapā nu, main
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11 mapadhā nu, padhani nu, dhanisā 68 nu, sanidhā nu, nidhapā nu, dhapamā nu, main
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12 pamagā nu, magarī nu, garisā nu. Thus is (ends) ākṣiptaka. main
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13 (26) annotation_inline
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14 (Anu. 96) annotation_inline
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15 Leaving the immediate (svara) after the first one and going (forward) in main
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16 two svaras and on account of descent in the same order in the ekakala 69 (one main
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17 time-unit form) (and) also (the same pattern) in ekakala in descent, thus is the main
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18 sampradāna in dvikala 70 (with two-unit phrases) that is composed of twenty-two main
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19 kalās (phrases). As - sagamā marisā, rimapā pagarī, gapadhā dhamagā, madhanī main
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20 nipamā, panisā sadhapā, dhanisā; sadhapā panisā, nipamā madhani, dhamagā main
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21 gapadhā, pagarī rimapā, marisā sagamā, garisā. Thus is (ends) sampradāna.71 main
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22 Or, sagamā magasā, rimapā pamarī, gapadhā dhapagā, madhanī nidhamā, main
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23 panisā sanipā, dhanisā; sadhapā padhasā, nipamā mapanī, dhamagā gamadhā, main
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24 pagarī rigapā, marisā sarimā, garisā. Thus is (ends) sampradāna. (27) main
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25 (Anu. 97) annotation_inline
parent ligne 24
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26 Hasita is on account of 'laughter'72 (or sport) in the dvikala73 (composed of main
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27 dual units) combination. As - saga mama risa, rima papa gari, gapa dhadha main
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28 maga, madha nini pama, pani sasa dhapa, dhanisā;74 sadha papa nisa, nipa main
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29 mama dhani, dhama gaga padha, paga riri mapa, mari sasa gama, garisā. Thus main
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30 (28) annotation_inline
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31 is (ends) hasita. annotation_inline
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32 (Anu. 98) annotation_inline
parent ligne 29
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33 Like hasita, through the ascent (and descent) of three svaras, or the ascent main
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34 (and descent) of four svaras, both ways hunkāra is ekakala 75 (with one-unit main
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vol_II_p059 RIGHT — 37 lignes

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1 101 page_number
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2 TRANSLATION page_header
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3 [Anu. 180] editorial_bracket
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4 This means-leaving the other jāti and taking up its own root i.e. bedecked main
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5 with its own jāti and kula (is formed the śuddhabhinna).54 main
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6 [4. Bhinnakaisika] section_header
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7 [Anu. 181] editorial_bracket
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8 The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. main
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9 What is then the difference? The difference is formed by gīti. Śuddhakaiśika main
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10 is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung main
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11 This is being said - annotation_inline
parent ligne 10
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12 The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in main
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13 śuddhakaiśika, the rāga is not elaborated with the same svasthāna in main
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14 bhinnakaisika. And its description is thus - main
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15 Bhinnakaiśika is known by the knowledgeable ones in svara to have a form main
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16 similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa main
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17 (and) is complete with the seven svaras. main
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18 (311) annotation_inline
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19 [Anu. 182] editorial_bracket
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20 This means - bhinnakaiśika is related to madhyamagrāma on account of being main
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21 born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the main
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22 nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like main
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23 śuddhakaiśika, yet there is a difference. This has abundance of mandra (low main
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24 notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in main
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25 śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that main
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26 svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and main
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27 thus it becomes distinct on account of difference in form. Its application is main
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28 prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. main
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29 The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is main
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30 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains main
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32 in the songs comprised of svara and pada. main
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33 (Śruti-bhinna) section_header
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34 Now he (the author) has spoken of the definition of śruti-bhinna - main
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35 Where the svara comprised of four śrutis is modified by the one comprised of two main
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36 śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. main
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37 (312) annotation_inline
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vol_II_p116 LEFT — 26 lignes

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1 BRHADDESĪ page_header
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2 214 page_number
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3 [१५. हयलीला] section_header
via surya_layout
4 अर्धं यत्र स्वरैगींत्वा यस्यास्तुरगलीलया । main
via surya_layout
5 अ(र्थ ?र्ध) annotation_inline
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via heuristic_height
6 (নু) annotation_inline
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via heuristic_height
7 गीयते बिरुदैरर्धं हयलीलेति सा स्मृता<sup>र७</sup> ॥३९७॥ main
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8 नीर (थं ?धं) main
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9 [१६. गजलीला] section_header
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10 हयलीलाकृतं सर्वं तालस्तु गजलीलक:। main
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11 तालोऽपि annotation_inline
parent ligne 10
via heuristic_height
12 गज्ञ annotation_inline
parent ligne 10
via heuristic_height
13 क्रियते यत्र सा ज्ञेया गजलीलेति नामतः १८॥३९८॥ main
via surya_layout
14 [१७. सिंहलील:] section_header
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15 छन्दसा सिंहलीलेन स्वरतेनकसंयुत:। main
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16 ॰लीलेत स्थ(र?रा)न्तेनतसंयुत: annotation_inline
parent ligne 15
via heuristic_markers
17 गीयते यस्तु बिरुदै: स भवेत् सिंहलीलक: १९॥३९९॥ main
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18 न्तै: annotation_inline
parent ligne 17
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19 [१८. शरभलील:] section_header
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20 स्वरपाटैर्निबद्धं च भवेद्यत्र पदाष्टकम् । main
via surya_layout
21 मतः शरभलीलोऽसौ रागतालाष्ट्रकान्वितः २०॥४००॥ main
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22 [१९. शुकचञ्चु:] section_header
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23 आदौ राग: सगमकस्तालेन तु समन्वित:। main
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24 स(ग)मक annotation_inline
parent ligne 23
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25 स्वरपाटै: प्रगीतस्तु नानादेशादिभाषया ॥ main
via surya_layout
26 गीयते यः स उद्दिष्टः शुकचञ्जूर्जनप्रियः ॥ ४०१॥ main
via surya_layout

vol_II_p127 LEFT — 36 lignes

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1 236 page_number
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2 BRHADDEŠĪ page_header
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3 [५. द्राविडैला] section_header
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4 भावाभिनयतालाढ्या विचित्रध्वनिरञ्जिता । main
via surya_layout
5 प्रासहीना रसस्था च<sup>४७</sup> एला द्रविडदेशजा ॥ ४७२॥ main
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6 ॥ इति देशाख्यैलापञ्चकम् ॥ editorial_bracket
parent ligne 5
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7 [एलासङ्खया] section_header
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8 गणैला तु चतुर्धोक्ता पञ्चमी सङ्करात्मका । main
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9 (यत?तु) चतु(थॉं?धॉं) का annotation_inline
parent ligne 8
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10 मात्रैला तु चतुर्भेदै: कथिता गीतकोविदै: ॥ ४७३॥ main
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11 चतुर्दशविभेदेन वर्णेला परिगीयते । main
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12 पञ्चधा देशभेदेन देशैला: समुदीरिता: ॥ ४७४॥ main
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13 (शैलरश?देशै)ला: annotation_inline
parent ligne 12
via heuristic_height
14 एकत्र मिलितास्त्वेता अष्टाविंशतिसंख्यया । main
via surya_layout
15 विज्ञाता गीतशास्त्रज्ञै: स्वस्वलक्षणसंयुता: ॥ ४७५॥ main
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16 (वि)ज्ञाता annotation_inline
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17 <b>भी (:स्वस्व)</b> main
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18 [इत्येलाभेदा:] editorial_bracket
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19 [३६. झोम्बड:] section_header
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20 आवृत्त्या यत्र पादार्धं गीत्वा तदनुगीयते । main
via surya_layout
21 आ(वि?वृ)त्या (धं?धं) main
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22 अर्धं द्वितीयमस्यापि प्रासस्तु स्याद् द्वयोरिप ॥ ४७६॥ main
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23 <b>पादस्य</b> annotation_inline
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24 एवमेव द्वितीयोऽपि अस्य पाद: प्रगीयते । main
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25 एवं तृतीयपादश्च पादो यश्च चतुर्थक: ॥ ४७७॥ main
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26 (द्वि?तृ) annotation_inline
parent ligne 25
via heuristic_short
27 प्रत्येकं सर्वपादानामन्तेऽसौ यत्र गीयते । main
via surya_layout
28 स तु झोम्बडको नाम गीतज्ञैरिभधीयते ॥ ४७८॥ main
via surya_layout
29 कङ्कालो नाम तालश नैव झोम्बडके भवेत्। main
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30 तारश annotation_inline
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31 ॰को annotation_inline
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32 अन्ये तु देशिसम्बन्धास्तालाः सर्वे भवन्ति हि ॥ main
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33 देशी॰ annotation_inline
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34 तेनकालङ्कृता भेदा झोम्बडस्य भवन्ति हि ॥ ४७९॥ main
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35 ताना + annotation_inline
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36 •डेस्य annotation_inline
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vol_I_p016 LEFT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 14 page_number
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2 BRHADDEŚI page_header
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3 [ अनु. ७ ] section_header
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4 ननु श्रुतेः कि मानम्? उच्यते, पञ्चम [ अस्तावद् ग्रामद्वयस्थो लोके editorial_bracket
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5 प्रसिद्धः । त- ] स्य श्रुत्युत्कर्षापकर्षाभ्यां मार्दवादायतत्वाद्वा यदन्तरं editorial_bracket
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6 तत्प्रमाणाः श्रुतिरिति । main
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7 ुणं ३८ ूरो ३६ annotation_inline
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8 [ अनु. ८ ] editorial_bracket
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9 इदानीं द्वाविंशतिप्रकारताया निदर्शनं यथा- main
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10 <sup>39</sup>ुत् annotation_inline
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11 द्वे वीणे40 तुल्यप्रमाण—तन्त्र्युप—41वादनदण्डमूर्च्छनासमे कृत्वा main
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12 वेणी annotation_inline
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13 पा annotation_inline
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14 ०पो annotation_inline
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15 षड्जग्रामाश्रिते कार्ये। तयोरन्यतरस्यां मध्यमग्रामिकीं श्रुतिं कृत्वा main
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16 पञ्चमस्यापकर्षात् तामेव श्रुतिं पञ्चमवशात् षड्जग्रामिकीं कुर्यात् । main
via surya_layout
17 <sup>4 2</sup> पञ्चमस्य   श्रुत्युत्कर्यवशात् main
via surya_layout
18 एक 🛂 - श्रुत्यपकृष्टा भवति, परं विशेषलाभो नास्ति, उच्चनीचमात्रप्रतीतेः। unknown
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19 एव annotation_inline
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20 पुनरपि तद्वदेवापकर्षेद्भ यथा गान्धारनिषादौ कर्तारौ पुनरन्यतरस्यां main
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21 व्ययित् annotation_inline
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22 स्थिरवीणायां धैवतर्षभौ कर्मतामापन्नौ प्रवेक्ष्यतः, अब्द्विश्रुत्यभ्यधिकत्वात् । main
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23 <sub>॰</sub>स<sub>॰</sub>45 annotation_inline
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24 पुनरपि तद्वदेवापकृष्टायां चलवीणायां धैवतर्षभौ इतरस्यां main
via surya_layout
25 पञ्चमषड्जौ प्रवेक्ष्यतः त्रिश्रुत्यभ्यधिकत्वात्। पुनरपि तद्वदेवापकृष्टायां main
via surya_layout
26 पञ्चममध्यमषड्जा इतरस्यां मध्यमगान्धारनिषादान् प्रविशन्ति चतुः- main
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27 इति अस्या annotation_inline
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28 श्रुत्यभ्यधिकत्वात्।। main
via surya_layout
161 lignes a valider — change uniquement les roles incorrects.