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 20906). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p075 LEFT — 29 lignes

page vol_II_p075 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 132 page_number
via heuristic_pagenum
3 अहं ते कथियध्यामि सर्वं तत्त्वेन लक्षणम् । main
via surya_layout
4 पूर्वं ग्रामह्रयं प्रोक्तं ग्रामरागास्तदुद्भवाः ॥९॥ main
via surya_layout
5 ग्रामरागोद्भवा भाषा भाषाभ्यश्च विभाषिका:। main
via surya_layout
6 विभाषाभ्यश्च सञ्जातास्तथा चान्तरभाषिका: ॥१०॥ main
via surya_layout
7 [ग्रामरागेषु भाषाणां सङ्ख्या, उद्देशश्च] section_header
via surya_layout
8 टक्करागे दश हे च केचिदिच्छन्ति षोडश। main
via surya_layout
9 तत ऊर्ध्वं निगद्यन्ते चाष्टौ मालवकैशिके ॥११॥ main
via surya_layout
10 ककुभे सप्त ये प्रोक्ताः पञ्च हिन्दोलके स्मृताः । main
via surya_layout
11 ० (भै?भे) annotation_inline
parent ligne 10
via heuristic_height
12 पञ्चमे दश विख्याता भित्रषड्जे नव स्मृता: ॥१२॥ main
via surya_layout
13 सौवीरके चतस्रस्तु चतस्रो भिन्नपञ्चमे । main
via surya_layout
14 बोट्टरागे तथाऽप्येका तथा मालवपञ्चमे ॥१३॥ main
via surya_layout
15 टक्ककैशिकजास्तिस्रो द्वे च वेसरषाडवे। main
via surya_layout
16 भिन्नताने तथा ह्येका चैका गान्धारपञ्चमे ॥१४॥ main
via surya_layout
17 पञ्चमषाडवे ह्येका इत्येतास्तु समासत:। main
via surya_layout
18 ॰(मा?म) annotation_inline
parent ligne 17
via heuristic_markers
19 भाषा विभाषा: कथितास्त्र्यधिका सप्ततिर्बुधै: ॥१५॥ main
via surya_layout
20 भाषाणां चैव नामानि लक्षणं च निबोधत। main
via surya_layout
21 प्रथमा त्रवणा ज्ञेया द्वितीया त्रवणोद्भवा॥१६॥ main
via surya_layout
22 वेरिञ्जका तृतीया तु छेवाटी च चतुर्थिका। main
via surya_layout
23 मालवेसरिका तत्र प्रयोक्तव्या तु पञ्चमी ॥१७॥ main
via surya_layout
24 षष्ठी च गूर्जरी ज्ञेया सौराष्ट्री सप्तमी तथा। main
via surya_layout
25 अष्टमी सैन्धवी चैव वेसरी नवमी तथा ॥१८॥ main
via surya_layout
26 पञ्चमाख्या तु दशमी रविचन्द्रा तथा भवेत्। main
via surya_layout
27 <sup>र</sup>अम्बाहेरी तु ललिता स्मृता कोलाहली तत: ॥१९॥ main
via surya_layout
28 <b>न्ही</b>? page_footer
via surya_layout
29 (vide) annotation_inline
parent ligne 27
via heuristic_height

vol_II_p057 RIGHT — 37 lignes

page vol_II_p057 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 97 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [1.Bhinna-şadja] section_header
via surya_layout
4 Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its main
via surya_layout
5 conclusion, to be devoid of pañcama and ṛṣabha and having been born of main
via surya_layout
6 ṣadjodicyavati (jāti). main
via surya_layout
7 (306) main
via surya_layout
8 [Anu. 175] section_header
via surya_layout
9 This means – bhinna – şadja is related to şadjagrāma on account of being born main
via surya_layout
10 of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is main
via surya_layout
11 pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are main
via surya_layout
12 kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the main
via surya_layout
13 entry of the hero in a situation where he is inclined towards the use of all main
via surya_layout
14 implements or tools (upakaraṇa), has an aversion to fighting which does not main
via surya_layout
15 match his disposition (vijātīya) and proceeds for hunting. main
via surya_layout
16 Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata main
via surya_layout
17 obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in main
via surya_layout
18 the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in main
via surya_layout
19 the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara main
via surya_layout
20 and <i>pada</i>. main
via surya_layout
21 [2.Bhinna-pañcama] section_header
via surya_layout
22 [Anu. 176] section_header
via surya_layout
23 ......This bhinna-pañcama is said to be svarabhinna. Its description is thus- main
via surya_layout
24 The knowledgeable ones in svara have spoken of bhinna-pañcama being main
via surya_layout
25 similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its main
via surya_layout
26 concluding note and is (applied) in the entry of the sūtradhāra. main
via surya_layout
27 (307) main
via surya_layout
28 [Anu. 177] section_header
via surya_layout
29 This means-bhinna-pañcama is related to madhyamagrāma on account of main
via surya_layout
30 being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa, main
via surya_layout
31 pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used main
via surya_layout
32 and this (rāga) is complete. It is applied in the entry of the sūtradhāra. main
via surya_layout
33 Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata main
via surya_layout
34 obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed main
via surya_layout
35 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā main
via surya_layout
36 prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
via surya_layout
37 comprised of svara and pada. main
via surya_layout

vol_II_p034 RIGHT — 35 lignes

page vol_II_p034 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 51 page_number
via heuristic_pagenum
3 pañcama and șadja. In the complete state there is the sparseness of șadja, main
via surya_layout
4 madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness main
via surya_layout
5 of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness main
via surya_layout
6 of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is main
via surya_layout
7 upto the nyāsa or upto the svara next to it. main
via surya_layout
8 [Anu. 153] section_header
via surya_layout
9 The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla. main
via surya_layout
10 There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), main
via surya_layout
11 eight in citra (mārga). It is ten-fold. There are ten amśas. Šuddhā (is one). main
via surya_layout
12 There are three vikṛtās in the complete state, three in the ṣāḍava state and main
via surya_layout
13 three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is main
via surya_layout
14 prescribed in the singing of dhruvās in the first scene (or act). main
via surya_layout
15 [5. Şadjakaisiki] section_header
via surya_layout
16 [Anu. 154] section_header
via surya_layout
17 Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The main
via surya_layout
18 tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara main
via surya_layout
19 next to it. It is always complete. There is the sparseness of dhaivata, niṣāda main
via surya_layout
20 and madhyama. Rṣabha is even more sparse, there is abundance of the main
via surya_layout
21 remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are main
via surya_layout
22 apanyāsas. main
via surya_layout
23 [Anu. 155] section_header
via surya_layout
24 It has no śuddhā state, there are three amśas in the complete state. main
via surya_layout
25 Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī main
via surya_layout
26 gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In main
via surya_layout
27 catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is main
via surya_layout
28 karuṇa. Its application (viniyoga) is (prescribed) in the first song associated main
via surya_layout
29 with entry in the second scene (or act). main
via surya_layout
30 [6. Şadjodicyava] section_header
via surya_layout
31 [Apu. 156] section_header
via surya_layout
32 Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā. main
via surya_layout
33 The tara extends up to five svaras. The mandra is upto the nyasa or the svara main
via surya_layout
34 next to it. The şādava formation is devoid of rṣabha, the auduvita formation main
via surya_layout
35 is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of main
via surya_layout

vol_I_p038 LEFT — 30 lignes

page vol_I_p038 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 58 page_number
via heuristic_pagenum
3 अनु. ३९ main
via surya_layout
4 एवं तावदुभयग्रामिक्यश्चतुर्दश मूर्छनाः सम्पूर्णाः कथिताः। इदानीं main
via surya_layout
5 तासां नामानि कथ्यन्ते— main
via surya_layout
6 षड्जे चोत्तरमन्द्रा स्यान्निषादे रजनी स्मृता। main
via surya_layout
7 •वा annotation_inline
parent ligne 6
via heuristic_height
8 धैवते चोत्तरा ज्ञेया शुद्धषड्जा च पञ्चमे।। ९३।। main
via surya_layout
9 मध्यमे मत्सरी ज्ञेया गान्धारे चाश्वक्रान्तिका। main
via surya_layout
10 ऋषभेण च विज्ञेया सप्तमी चाभिरुद्रता॥९४॥ main
via surya_layout
11 षड्जग्रामाश्रितास्त्वेवं विज्ञेयाः सप्त मूर्छनाः। main
via surya_layout
12 अतः परं प्रवक्ष्यामि मध्यमग्राममूर्छनाः ॥९५॥ main
via surya_layout
13 मध्यमेन च सौवीरी गान्धारे हरिणायिका । main
via surya_layout
14 ह्या annotation_inline
parent ligne 13
via heuristic_height
15 स्यात् कलोपनता चैव ऋषभेणैव मूर्छना।।९६।। main
via surya_layout
16 शुद्धमध्या [ तु ] षड्जे स्यान्निषादे चैव मार्गिका। editorial_bracket
parent ligne 15
via heuristic_brackets
17 पौरवी धैवते ज्ञेया हृष्यका पञ्चमे तथा।।९७।। main
via surya_layout
18 इति तावन्मया प्रोक्ता मध्यमग्राममूर्छनाः। main
via surya_layout
19 इदानी सम्प्रवक्ष्यामि षाडवौडुवमूर्छनाः ॥९८॥ main
via surya_layout
20 षट्स्वरा षाडवा ज्ञेया औडुवा पञ्चिभः स्वरैः। main
via surya_layout
21 षाडवौडुवितानां च व्युत्पत्तिश्च निगद्यते।।९९।। main
via surya_layout
22 अनु. ४० annotation_inline
parent ligne 21
via heuristic_short
23 षट्स्वरा अवन्ति रक्षन्ति ये ते षाडवस्वराः। तेषां प्रयोगः षाडवः। main
via surya_layout
24 तारकादितच् प्रत्ययः। main
via surya_layout
25 [ अनु. ४१ ] editorial_bracket
parent ligne 24
via heuristic_brackets
26 उडवो नक्षत्राणि गच्छन्ति यस्मिन्नाकाशे तदाकाशमौडुवम्। तेन पञ्च main
via surya_layout
27 संख्या लक्ष्यते, पञ्चमं हि महाभूतं, तत्स्था संख्या च विद्यते main
via surya_layout
28 यस्य तदौडुवितम्। annotation_inline
parent ligne 27
via heuristic_short
29 षाडवं षट्स्वरं ज्ञेयं लक्षणं सप्तधा मतम्। main
via surya_layout
30 एकोनपञ्चाशत् संख्यं तज्ज्ञेयं गीतवेदिभिः॥१००॥ main
via surya_layout

vol_I_p026 RIGHT — 24 lignes

page vol_I_p026 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 35 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 sa annotation_inline
parent ligne 12
via heuristic_height
4 n annotation_inline
parent ligne 12
via heuristic_height
5 ni annotation_inline
parent ligne 12
via heuristic_height
6 ga annotation_inline
parent ligne 12
via heuristic_height
7 dha annotation_inline
parent ligne 12
via heuristic_height
8 ma annotation_inline
parent ligne 12
via heuristic_height
9 pa annotation_inline
parent ligne 12
via heuristic_height
10 Thus ends the Samvādi-mandala. caption
via surya_layout
11 (Anu. 22) annotation_inline
parent ligne 12
via heuristic_height
12 The use of samvadin is thus- main
via surya_layout
13 The sadja that is accepted as amsa (fundamental note) in a gita (melodic main
via surya_layout
14 structure), in the place of that (if) madhyama (is used) it does not destroy the main
via surya_layout
15 rāga (melodic matrix). The location on which madhyama is used in accordance main
via surya_layout
16 with the mūrchanā,40 on the same location (if) şadja is used, it does not destroy main
via surya_layout
17 the jāti or rāga. In the place of şadja and pañcama (if) pañcama-şadja are used, main
via surya_layout
18 they do not destroy the jāti and rāga. Similarly dhaivata-rṣabha being used in the main
via surya_layout
19 place of rabha-dhaivata do not become the destroyers of jāti and rāga. Similarly main
via surya_layout
20 niṣāda-gāndhāra being used in the place of gāndhāra-niṣāda do not bring about a main
via surya_layout
21 loss of jāti and rāga. Kakubha being with dhaivata amśa, and revagupta being with main
via surya_layout
22 ṛṣabha aṃśa and ārṣabhī jāti, the mother of both of them, having taken up ṛṣabha main
via surya_layout
23 as amía, these two (dhaivata and rṣabha) when used as being mutually related, main
via surya_layout
24 do not become the destroyers of jāti or rāga. main
via surya_layout
155 lignes a valider — change uniquement les roles incorrects.