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 20828). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p026 RIGHT — 38 lignes

page vol_II_p026 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 35 page_number
via heuristic_pagenum
3 When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4 main
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4 (alteration) of anisas of jātis (should be taken up). main
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5 (249) annotation_inline
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6 Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma main
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7 the formation or variation of amsas in their svaras i.e. in svaras of jatis should main
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8 be done in the text of vardhamāna<sup>51</sup> main
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9 (250) main
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10 [8. The ṣāḍava and auḍava formation of jātis] section_header
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11 The sixty-three amsas that have thus been spoken of, out of them each one main
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12 is accorded the position of ainsa (at a given time) (and accordingly) the main
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13 ṣāḍava and auḍava formation that is obtained (on account of rule or main
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14 prescription) is sometimes given up. main
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15 (251) main
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16 [ Anu. 134 ] section_header
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17 The sixty-three amsas that have been spoken of, out of them each one has main
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18 to be arranged as anisa (in a given melodic set-up). (In specific situations main
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19 created by the arrangement of different anisas) sometimes the formation of main
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20 ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given main
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21 up. He (the author) clarifies this itself. main
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22 Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on main
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23 <math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not main
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24 accepted. annotation_inline
parent ligne 23
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25 (252) main
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26 [ Anu. 135 ] section_header
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27 This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not main
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28 become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the main
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29 omission of gandhara is not there. On gandhara being amśa, it should be main
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30 known to be non-ṣāḍava by omission of niṣāda because of the negation of the main
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31 omission of the sanivādī of the aniśa. main
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32 Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become main
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33 ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the main
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34 negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does main
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35 not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the main
via surya_layout
36 amśa and şadjodicyavā should be known not to be şādava (through the main
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37 omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a. main
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38 (253) main
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vol_I_p049 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 80 page_number
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2 <b>BRHADDEŚ</b>I page_header
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3 व्युत्क्रमाः पञ्च।गरिस गसरि रिगस [ रिसग ] सगरि इति व्युत्क्रमेण editorial_bracket
parent ligne 5
via heuristic_brackets
4 रिगस गसरि annotation_inline
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via heuristic_height
5 क्टतानाः पञ्च। तदेवं गान्धारस्य षट् तानाः। main
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6 ुञ्चम (?) annotation_inline
parent ligne 5
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7 एवं मध्यमस्य सरिगमेत्येकः क्रमः। मगरिसेत्येवमादयस्त्रयो- main
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8 ्रयो- - annotation_inline
parent ligne 7
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9 विंशतिरुत्क्रमाः। तद्यथा—ब्ध्मगरिस, मगसरि, मरिगस, मरिसग, मसगरि, main
via surya_layout
10 मसरिग इति मध्यमपूर्वाः षट् तानाः व्युत्क्रमकृताः। एवं गान्धारर्षभषङ्जानां main
via surya_layout
11 प्रत्येकं षट् ताना भवन्ति मिलित्वा चतुर्विशतिर्भवन्ति। main
via surya_layout
12 एवं पञ्चमस्य सरिगमपेत्येक एव क्रमः। पमगरिसेत्या- main
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13 दिव्युत्क्रमकूटतानानां शतमेकोनविंशतिर्भवन्ति। तद्यथा— सरिगमप, पमगरिस। main
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14 पमगरिसानां प्रत्येकं चतुर्विंशतिर्भवन्ति, मिलित्वा विंशत्यधिकं शतं main
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15 भवति। एवं धैवतस्य सरिगमपधेत्येकः क्रमः। धपमगरिसेति व्युत्क्रमः। main
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16 धपमगरिसानां प्रत्येकं विंशत्यधिकं [ शतं ] भवति, editorial_bracket
parent ligne 15
via heuristic_brackets
17 मिलित्वा annotation_inline
parent ligne 15
via heuristic_height
18 सप्तशतानि विंशत्यधिकानि भवन्ति। एवं निषादस्यापि सरिगमपधनीत्येकः main
via surya_layout
19 क्रमः। निधपमगरिसेति व्युत्क्रमः। निधपमगरिसानां प्रत्येकं सप्तशतानि main
via surya_layout
20 विंशत्यधिकानि भवन्ति, मिलित्वा पञ्चसहस्राणि चत्वारिशच्च भवन्ति। main
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21 . अनु₀ ५९ ो editorial_bracket
parent ligne 20
via heuristic_brackets
22 तदेवमेतेषां स्वराणां तानविधानं षट्षष्टितन्त्र्यां शततन्त्र्यां चोपलभ्यते। main
via surya_layout
23 ुन् annotation_inline
parent ligne 22
via heuristic_height
24 ुना annotation_inline
parent ligne 22
via heuristic_height
25 तयोः स्वमानानि मध्यमादीनि । main
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26 ुभावा ऋ (२म) ना annotation_inline
parent ligne 25
via heuristic_height
27 ( तत्र ) कूटतानभेदप्रदर्शनमिह न कृतमितप्रसङ्गनिवृत्त्यर्थम् । एतेनैव main
via surya_layout
28 क्रमेण बुद्धिमद्भिः स्वयमेव लक्षणीयमिति। main
via surya_layout
29 [ अनु<sub>0</sub> ६० ] editorial_bracket
parent ligne 28
via heuristic_brackets
30 87 तदेषां तानानां प्रयोजनं 88 [ स्थान- ] प्राप्त्यर्थमुक्तम् 89स्थानानि editorial_bracket
parent ligne 28
via heuristic_brackets
31 त्रीण्युक्तानि काकुविधौ, व्यस्तानि षट्षष्टिं विद्या [न्] मन्द्रादिसिद्धये। editorial_bracket
parent ligne 28
via heuristic_brackets
32 ुरुविधो annotation_inline
parent ligne 28
via heuristic_height
33 स्यू annotation_inline
parent ligne 28
via heuristic_height

vol_II_p103 RIGHT — 32 lignes

page vol_II_p103 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 189 page_number
via heuristic_pagenum
3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
via surya_layout
4 Ravicandrā [ii] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
via surya_layout
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
via heuristic_short
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
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16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
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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
via heuristic_short
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
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23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
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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
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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_p023 RIGHT — 37 lignes

page vol_II_p023 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 29 page_number
via heuristic_pagenum
3 (One should move in it) from niṣāda to gāndhāra and the omission is like that main
via surya_layout
4 in madhyamā. annotation_inline
parent ligne 3
via heuristic_short
5 (228-229) main
via surya_layout
6 The performers should know pañcama as the amsa of gandhara-pañcami; main
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7 the same (pañcama) alongwith rṣabha is apanyāsa and gāndhāra is desired to main
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8 be the <i>nyāsa</i>. main
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9 (230) annotation_inline
parent ligne 8
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10 Whatever sañcāra (to and fro movement) and the like has been said in the main
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11 case of gandhari and then pancami, that should be known also in this main
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12 (gāndhārapañcamī), but it is always with complete svaras. main
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13 (231) annotation_inline
parent ligne 12
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14 In āndhrī, şadja, madhyama and dhaivata should be known as non-amsas. Its main
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15 ṣāḍava form is devoid of ṣaḍja and gāndhāra should be its nyāsa. main
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16 (232) annotation_inline
parent ligne 15
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17 In nandayanti, madhyama and pañcama should be known as the two main
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18 apanyāsas, gāndhāra is the graha and nyāsa, (and) pañcama is said to be the main
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19 ariisa. annotation_inline
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20 (233) main
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21 Its ṣāḍava form should be known as that of āndhrī, it has no auḍuva form. main
via surya_layout
22 It has sañcāra (in and around) the low rṣabha, which is also sometimes main
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23 omissible. annotation_inline
parent ligne 22
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24 (234): main
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25 ln kārmāravī, şadja, gāndhāra and madhyama are non-amsas. It has main
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26 completeness, pañcama is the nyāsa (and) there is profuse movement main
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27 towards gāndhāra. annotation_inline
parent ligne 26
via heuristic_short
28 (235) annotation_inline
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29 In kaiśikī, ṛṣabha is non-aṁśa and the two svaras composed of two śrutis each ; main
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30 are the nyāsas. Rṣabha and dhaivata alone are to be omitted respectively (in main
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31 the şādava and audava states). main
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32 ...................................... unknown
via fallback
33 When niṣāda and dhaivata are the aṁśas then pañcama also could become ... main
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34 the nyāsa. Ŗṣabha is the apanyāsa and some have said that it is similar to amsa... main
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35 (237) main
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36 , ' , annotation_inline
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37 . . . annotation_inline
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vol_II_p016 LEFT — 37 lignes

page vol_II_p016 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 14 page_number
via heuristic_pagenum
2 BRHADDESÏ page_header
via surya_layout
3 सोऽभिधीयते । अंशस्य विवादी ३९यो न भवति [स] प्रथमविदार्यन्ते४० editorial_bracket
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4 यदि main
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5 प्रयुक्तो annotation_inline
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6 <b>॰यन्तिर्यादि</b> annotation_inline
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via heuristic_markers
7 प्रवृत्तो annotation_inline
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8 यथा annotation_inline
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9 भवति, तदासौ संन्यास इत्यर्थ: । main
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10 ¥<sup>१</sup>तदा annotation_inline
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11 <sup>४२</sup> इत्युच्यते main
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12 यदा annotation_inline
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13 [अंशलक्षणान्तर्गतं विन्यासलक्षणम्] section_header
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14 [अनु॰१२३] editorial_bracket
parent ligne 13
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15 एष एव तु संन्यासस्वरः पदान्ते विन्यस्तो तदा विन्यासः । main
via surya_layout
16 <sup>४३</sup>०स्वरो यदा annotation_inline
parent ligne 15
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17 अतएव तदुक्तं भवति - main
via surya_layout
18 र्४४<br>एवांशस्य संवाद्यनुवादी वा पदिवदार्यन्ते भवतीत्युक्तम् । main
via surya_layout
19 भ्भ' रागश्च यस्मिन् वसति यस्माच्चैव प्रवर्तते । main
via surya_layout
20 अंशस्य संवादी या भवति annotation_inline
parent ligne 19
via heuristic_height
21 नेता च तारमन्द्राणां योऽत्यर्थमुपलभ्यते ॥ main
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22 ग्रहापन्यासविन्याससंन्यासन्यासगोचर:। main
via surya_layout
23 अनुवृत्तश्च यश्चेह सोंऽश: स्याद् दशलक्षण:॥'४६ main
via surya_layout
24 स्या(दं?द्द)शलक्ष(णं?ण:) main
via surya_layout
25 [तुल॰ ना॰ शा॰ २८.६८,६९] editorial_bracket
parent ligne 24
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26 [३. तारलक्षणम्] section_header
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27 [अनु॰ १२४] editorial_bracket
parent ligne 26
via heuristic_brackets
28 इदानीं तारलक्षणमुच्यते - main
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29 <sup>४७</sup>अंशस्वरप्रयोगादारभ्य main
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30 पञ्चस्वरपरा तारगति:। main
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31 किमुक्तं भवति ? main
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32 पञ्चमस्वरारोहणं तार इति, चतुःस्वरारोहणं तार इति [वा]। नन्दयन्त्यां यथासासानिधसा editorial_bracket
parent ligne 31
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33 <b>ल्सारो</b>॰ annotation_inline
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34 <b>ल्यमारो</b>॰ annotation_inline
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35 रिग annotation_inline
parent ligne 31
via heuristic_height
36 इति, पञ्चमांशत्वात् षड्जस्तार: । आपञ्चमादिति योजना [गान्धार्या] अष्टम्या विदार्या editorial_bracket
parent ligne 31
via heuristic_brackets
37 °ध्या page_footer
via surya_layout
177 lignes a valider — change uniquement les roles incorrects.