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 20841). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p077 LEFT — 32 lignes

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1 * 1 annotation_inline
parent ligne 4
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2 BRHADDEŚĪ page_header
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3 136 page_number
via heuristic_pagenum
4 साधारिता तृतीया तु गान्धारी च चतुर्थिका । main
via surya_layout
5 एवं ज्ञेयाश्चतस्रो हि भाषा: सौवीरकोद्भवा: ॥३१॥ main
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6 भाषा सैन्यविकी ज्ञेया ज्ञेया: <sup>१४</sup> main
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7 शुद्धिभन्ना तु वाराटी तथा धैवतभूषिता । main
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8 न्हो annotation_inline
parent ligne 7
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9 ক্ট annotation_inline
parent ligne 7
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10 १५विशाला च तत: प्रोक्ता भित्रपञ्चमसम्भवा: ॥३२॥ main
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11 वराटी annotation_inline
parent ligne 10
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12 माङ्गल्याख्या तु या भाषा बोट्टरागोद्भवा तु सा । main
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13 TPo annotation_inline
parent ligne 12
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14 मालवपञ्चमे जाता भाविनी लोकभाविनी<sup>र६</sup>॥३३॥ main
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15 टक्ककैशिकजा ज्ञेया मालवा <sup>१७</sup>भित्रवालिका । main
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16 तृतीया वेगमध्यमा annotation_inline
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17 तृतीया द्राविडी तत्र भाषा लक्षितलक्षणा ॥३४॥ main
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18 मालवा भित्रवालीका ++++++ annotation_inline
parent ligne 17
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19 बाह्यषाडवनादाख्ये जाते वेसरषाडवे । main
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20 •पाडनदाख्या annotation_inline
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21 तानोद्भवा तु विज्ञेया भित्रताने व्यवस्थिता ॥३५॥ main
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22 गान्धारपञ्चमे ह्येका भाषा गान्धारिका मता । main
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23 गान्धारी <sup>१८</sup>बहुगान्धारा पञ्च[मे?]लोकरञ्जिका ॥ editorial_bracket
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via heuristic_brackets
24 +++++ annotation_inline
parent ligne 22
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25 १९रेवगुप्ते शकाख्यैका प्रोक्ता पञ्चमषाडवे ॥३६॥ main
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26 इत्येता: प्रकटा भाषा: प्रजायन्ते ह्यनेकश: । main
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27 सोदाहरणमेतासां लक्षणं चाधुना शृणु ॥३७॥ main
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28 [भाषाणां लक्षणानि] editorial_bracket
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29 [१.अथ टकरागे] editorial_bracket
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30 मध्यमांशा तु षड्जा[न]ता पञ्चमेन विवर्जिता । editorial_bracket
parent ligne 27
via heuristic_brackets
31 धैवतस्य निषादस्य <sup>२०</sup>षड्जधैवतयोस्तथा ॥३८॥ main
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32 <del>व्</del>तरेश page_footer
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1 53 page_number
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2 TRANSLATION page_header
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3 rṣabha-pañcama. There is abundance of gāndhāra although the state of amśa main
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4 does not obtain in it. There is the sparseness of pañcama in the ṣāḍava state, main
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5 in the auduvita state there is the sparseness of none; there is abundance of main
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6 all. Madhyama is the nyāsa. Ŗṣabha, dhaivata are the two apanyāsas. There main
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7 is mutual reaching out among the amsas. main
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8 [Anu. 157] section_header
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9 This is eleven-fold. There are eleven amsas, four in the complete state, main
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10 three in the sādava state, because of the exclusion of the form in which main
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11 dhaivata is the amśa, four in the auduvita state. There is no śuddha (amśa). main
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12 The mūrchanā<sup>69</sup> beginning with gāndhāra obtains. Paūcapāņi is the tāla. main
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13 With ekakala (tāla) and citra (mārga) there is māgadhī (gīti). With dvikala (tāla) main
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14 in the vārtika (mārga) there is sambhāvitā (gītī). With catuṣkala (tāla) in the main
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15 dakşina (mārga) there is pṛthulā (gīti). Śṛṅgāra and hāsya are the two rasas. Its main
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16 application (viniyoga) is prescribed in the singing of dhruvā (s) in the second main
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17 scene (or act). main
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18 [7.Şadjamadhyamā] section_header
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19 [Anu. 158] section_header
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20 All the seven svaras are grahas and anisas of şadjamadhyamā. The tāra main
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21 extends upto five svaras. The mandra is upto the nyāsa or upto the svara next main
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22 to it. In the ṣāḍava state it is devoid of niṣāda. In the auḍuvita state it is devoid main
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23 of niṣāda-gāndhāra. There is free movement (sancāra) without violating the main
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24 grāma. In the complete state, there is the sparseness of niṣāda and gāndhāra. main
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25 Ṣadja and madhyama are the two nyāsas. Seven svaras are apanyāsas. main
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26 [Anu. 159] section_header
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27 It is seventeen-fold. There are seventeen amsas – out of them seven obtain main
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28 in the <i>pūrņa</i> state, five in the <i>ṣāḍava</i> state and five in the <i>auḍava</i> state. There main
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29 is no śuddha state. The murchanā<sup>70</sup> beginning with madhyama obtains. main
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30 Pañcapāṇiis the tāla. With ekakala (tāla) in the citra (mārga), there is māgadhī main
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31 (gīti). With dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti). main
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32 With catușkala (tāla) in the dakșiņa (mārga) there is pṛthulā (gīti). It is relevant main
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33 in all the rasas. Its application (viniyoga) is (prescribed) in the singing of main
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34 dhruvā (s) in the second scene (prekṣaṇaka).71 main
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35 Thus end these seven jātis pertaining to sadjagrāma. main
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36 [Anu. 160] section_header
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37 Now the jātis pertaining to madhyamagrāma are being said - main
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L#Texte OCRRole autoCorriger si incorrect
1 151 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
parent ligne 3
via heuristic_height
5 dhāsāsāgāgadhari. annotation_inline
parent ligne 3
via heuristic_height
6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
parent ligne 3
via heuristic_brackets
7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
parent ligne 3
via heuristic_brackets
8 Combined with şadja as the initial and concluding note, has concert of main
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9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
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10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
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11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
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12 (regional). annotation_inline
parent ligne 11
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13 (65) annotation_inline
parent ligne 11
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
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15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
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16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
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18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
parent ligne 17
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19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
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20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
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21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
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22 knowledgeable ones in music. main
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23 (66) annotation_inline
parent ligne 22
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24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
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25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
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26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
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27 Sanisasā. Māṅgālī [iv] editorial_bracket
parent ligne 26
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
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31 name of deśa (region), being born of the Sindhu region. main
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32 (67) annotation_inline
parent ligne 31
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33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
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34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
parent ligne 33
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vol_I_p041 LEFT — 36 lignes

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1 <b>BRHADDESI</b> page_header
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2 64 page_number
via heuristic_pagenum
3 सरि 🗶 म प ध 🗶 main
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4 [ ४ सरि ४ म प ध ] editorial_bracket
parent ligne 3
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5 ध 🗶 स रि 🗶 म प main
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6 पध X स रि X म annotation_inline
parent ligne 5
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7 मपध X स रि X main
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8 [ хमपध editorial_bracket
parent ligne 7
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9 निगहीनाः। main
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10 रि 🗶 म प ध 🗶 स unknown
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11 स 🗙 गम 🗶 ध नि main
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12 निस X ग म X ध annotation_inline
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13 धनिस X गम X main
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14 [хधनसхगम]. editorial_bracket
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15 म 🗶 ध नि स 🗶 ग main
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16 गम 🗶 ध नि स 🗶 annotation_inline
parent ligne 15
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17 परिहीनाः। इत्यौडुवाः। योगाः। main
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18 [ 🗶 गम 🗶 ध निस ] editorial_bracket
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19 [ अथ ] मध्यमग्रामे-- editorial_bracket
parent ligne 17
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20 ٠ page_number
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21 मपधनि X रिग main
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22 गमपधनि 🗙 रि annotation_inline
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23 रिगमपधनि X main
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24 [ x रिगमपधनि ] editorial_bracket
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25 नि X रिगमपध main
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26 ध नि x रिगम प annotation_inline
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27 षड्जहीनाः। main
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28 प ध नि X रि ग म unknown
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29 म प ध नि स X ग main
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30 गमपधनिस X annotation_inline
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31 [ Xगमपधनिस] editorial_bracket
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32 स X गमप ध नि main
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33 निस X गम प ध annotation_inline
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34 ध निस X गमप main
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35 ारहानाः। annotation_inline
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36 प ध नि स 🗶 ग म main
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1 TRANSLATION page_header
via surya_layout
2 209 page_number
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3 prabandha svarārtha. Karaņa<sup>5</sup> has been said to be the fortieth, combined with main
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4 five (forty-five). annotation_inline
parent ligne 3
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5 <math>(377-378)</math> main
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6 This varņasvara is known to be (numbered) forty combined with six main
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7 (forty-sixth); that which is muktāvalī should be known to be (numbered) main
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8 forty, combined with seven (forty-seven). main
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9 (379) annotation_inline
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10 Pratāpavardhana is said to be the forty-eighth. Eight combined with main
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11 forty(forty-eight) are (the prabandhas) spoken of by the muni. main
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12 (380) annotation_inline
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13 I shall speak of their characteristics in brief for the sake of scholars. They main
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14 should be sung by those adept in music in accordance with the rules related main
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15 to <i>svara-tāla</i> and the like as well as <math>r\bar{a}gas^6</math>. main
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16 (381) main
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17 [The description of Prabandhas] section_header
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18 [1. <i>Kanda</i>] section_header
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19 That which is bereft of <i>tāla</i> and is combined with <i>pāṭas</i> and <i>birudas</i>, that main
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20 is kanda, mixed with the pada (text) of the Karpāṭa<sup>7</sup> language and the like. main
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21 (382) annotation_inline
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22 Prabandhas like kanda are verily well-known in practice. main
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23 [2. <i>Vṛtta</i>] section_header
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24 There is never a regulation (or specification of tāla in) vṛtta (composed main
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25 in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka. The prominence main
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26 of metre has been clearly specified in them, by the munis. In the end the main
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27 placing of svaras<sup>9</sup> is (prescribed), others hold it to be devoid of svara. Others main
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28 say that it is (formed) in the vitta metre; that is also acceptable. main
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29 (383-384) main
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30 - --- annotation_inline
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169 lignes a valider — change uniquement les roles incorrects.