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 20917). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p033 LEFT — 35 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 48 page_number
via heuristic_pagenum
3 सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला<sup>१४२</sup>। वीररौद्राद्धता रसा:। प्रथमप्रेक्षणके नैष्क्रामिकी- main
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4 धूवागाने विनियोगः<sup>१४३</sup>। main
via surya_layout
5 (वं ? वा) main
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6 [३. धैवती] section_header
via surya_layout
7 [अनु॰ १५०] section_header
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8 <sup>१४४</sup>धैवत्या धैवतर्षभौ ग्रहावंशौ च ।शुद्धावस्थायां<sup>१४५</sup> धैवत एवापन्यास:, विकृतावस्थायां main
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9 धैव(न्या ? त्या) धैवतं महौ ग्रहौ अंशौ main
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10 धैवत्येव न्यासः annotation_inline
parent ligne 9
via heuristic_height
11 च धैवतर्षभमध्यमा अपन्यासाः। धैवतो न्यासः। पञ्चमहीनं षाडवं<sup>१४६</sup>पञ्चमषड्जहीनमौडुवित्ं main
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12 तावेव षड्जपञ्चमस्वरौ<sup>१४७</sup>दुर्बलौ कर्तव्यौ क्वचिल्लङ्घनीयौ । पञ्चस्वरपरस्तार: । न्यासपरस्तत्परो main
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13 (व्य ? व्यौ) annotation_inline
parent ligne 12
via heuristic_short
14 तु क main
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15 वा मन्द्र:१४८। main
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16 [अनु॰ १५१] section_header
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17 सप्तविधत्वमस्या: । सप्तांशका: - शुद्धो, विकृतपूर्णो [द्वौ द्वौ षाडवौडुवितौ च ।] editorial_bracket
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18 <i>विविध</i>॰ annotation_inline
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19 ्ण annotation_inline
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20 ऋषभादिमूर्छना। ताल: पञ्चपाणि:, एककलश्चित्रो मार्ग:, मागधी गीति:। द्विकलो <sup>१४९</sup>वार्तिक:. main
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21 (वा)र्तिक: annotation_inline
parent ligne 20
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22 सम्भाविता । चतुष्कलो दक्षिण:, पृथुला । कलाश्चित्रे द्वादश, वार्तिके चतुर्विशतिर्दक्षिणे- main
via surya_layout
23 कला (धतर ?) दक्षिणे . कला: द्वादश वार्तिके कला main
via surya_layout
24 ऽष्टचत्वारिंशच्च । रसा वीरबीभत्सभयानकाः । ध्रुवागाने प्रथमे प्रेक्षणके विनियोगः । main
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25 अष्टचत्वारिशद् । main
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26 [४. नैषादी] section_header
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27 [अनु॰ १५२] section_header
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28 निषादवत्या निषादर्षभगान्धारा ग्रहा अंशाश्च। अपन्यासाश्च निषादगान्धारर्षभा:। निषाद एव main
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29 (शा) annotation_inline
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30 न्हाः annotation_inline
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31 को annotation_inline
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32 न्यासः। पञ्चमहीनं षाडवं, पञ्चमषड्जहीनमौडुवितम्। पूर्णावस्थायां १५०षड्जमध्यमपञ्चमधैवता- main
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33 <i>ान्धारमध्यमपञ्चमा</i>- annotation_inline
parent ligne 32
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34 नामल्पत्वम् । १५१ [षाडवे षङ्जमध्यमधैवतानामल्पत्वम् ।] औडुविते मध्यमधैवतयोरल्पत्वम् । editorial_bracket
parent ligne 32
via heuristic_brackets
35 नामः annotation_inline
parent ligne 32
via heuristic_height

vol_I_p027 RIGHT — 28 lignes

page vol_I_p027 RIGHT
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1 37 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 (Anu. 23) main
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4 Anuvāditva (the state of being anuvādin) occurs by the state of being one main
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5 śruti less<sup>41</sup> (i.e. pairs of svaras where one of the constituents is less than the other main
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6 by one śruti are anuvādins). But what is that anuvāditva? main
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7 The expositorhood of the ragatva of raga brought about by the samvadin is main
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8 indeed anuvāditva. annotation_inline
parent ligne 7
via heuristic_short
9 The anuvādi-maņdala is thus - main
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10 Sa annotation_inline
parent ligne 9
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11 Ň annotation_inline
parent ligne 9
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12 ni annotation_inline
parent ligne 9
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13 ga annotation_inline
parent ligne 9
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14 dha annotation_inline
parent ligne 9
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15 ma annotation_inline
parent ligne 9
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16 pa annotation_inline
parent ligne 9
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17 Thus ends the anuvādi-maṇḍala. [in ṣaḍjagrāma] caption
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18 (Anu. 24) main
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19 The use<sup>42</sup> of anuvadins is thus - şadja in the place of ṛṣabha and ṛṣabha in the main
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20 place of şadja, remaining in its own form, does not destroy jāti or rāga. main
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21 Dhaivata, being used in the place of pañcama and pañcama being used in the main
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22 place of dhaivata may not become the destroyer of jāti and rāga. Dhaivata being main
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23 used in the place of şadja and şadja being used in the place of dhaivata does not main
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24 become the destroyer of jāti and rāga. Rṣabha being used in the place of pañcama main
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25 and pañcama being used in the place of rṣabha does not destroy jāti and rāga. main
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26 Rṣabha in the place of madhyama and madhyama in the place of ṛṣabha; main
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27 similarly, madhyama being used in the place of dhaivata and dhaivata in the place main
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28 of madhyama does not destroy jāti and rāga. main
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vol_II_p164 RIGHT — 41 lignes

page vol_II_p164 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 311 page_number
via heuristic_pagenum
2 VIMARŠA page_header
via surya_layout
3 22,23. Nāga and kinnara are names of ethnic groups. Our text is the list_item
via surya_layout
4 first one to mention ethnic names in the context of music. list_item
via surya_layout
5 24. Paurāla is not a known geographical name. One approximate list_item
via surya_layout
6 name is paurava, "a country on the eastern bank of the jhelam including the list_item
via surya_layout
7 Gujrat district, the original seat of the Purus, the kingdom of Porus who list_item
via surya_layout
8 fought with Alexander " (Nando Lal De). Purālī was an ancient name of list_item
via surya_layout
9 Travancore (ibid). list_item
via surya_layout
10 25. Harşapūra is not known as a geographical name. list_item
via surya_layout
11 26. <math>\bar{A}bh\bar{i}ra</math> is both a geographical and ethnic name. It is identified as list_item
via surya_layout
12 "the south-eastern portion of Gujrat about the mouths of the Narmada" list_item
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13 (Nando Lal De). list_item
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14 27. 'Samyoga' is another expression for sancara or sangati. list_item
via surya_layout
15 28. Kāmboja is identified as Afghanistan (Nando Lal De). list_item
via surya_layout
16 29. Sātavāhana or Sātavāha is "the name of a king fabled to have been list_item
via surya_layout
17 discovered, when a child, riding a Gandharva called Sāta, who, according to list_item
via surya_layout
18 one legend, was changed into a lion" (Monier Williams). Also known as list_item
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19 Sālivāhana, the Śaka ruler who founded the Śaka era i.e samvat. list_item
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20 30. Gāndhāra and niṣāda are implied. list_item
via surya_layout
21 31. Chāyā is used while describing the resemblance of one rāga with list_item
via surya_layout
22 another at a given point. list_item
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23 32. Kākalī is prescribed to be always sparse in the grāma system. The list_item
via surya_layout
24 prescription here of kākalī being frequent is a notable departure. list_item
via surya_layout
25 33. Again the ethnic name kinnara appears here. See notes 22,23. list_item
via surya_layout
26 34. The basic name is hindola or hindolaka meaning a swing; its list_item
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27 synonym is sometimes used to meet the exigency of metre. list_item
via surya_layout
28 35. See note 26. list_item
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29 36. Gāndharva is a rigorously guarded tradition. The inclusion of list_item
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30 bhāṣā in this corpus is incongruous, unless gāndharva is taken to stand for list_item
via surya_layout
31 music in general. list_item
via surya_layout
32 37. "Mangala - called also Mangali or Mangalapura, the capital of list_item
via surya_layout
33 Udyāna, identified by Wilford with Mangora or Manglora. Cunningham list_item
via surya_layout
34 thought it could be identified with Minglaur (Mangalore) " (Nando Lal list_item
via surya_layout
35 De). list_item
via surya_layout
36 38. The word samvāda has been used here again for sancara or sangati. list_item
via surya_layout
37 39. The origin of this vibhāṣā is traced directly to pañcama rāga, where list_item
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38 as it should really be related to a bhāṣā of that rāga. It is treated as a bhāṣā list_item
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39 in SR and S Rāj. list_item
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40 40. Gändhärapañcama has been mentioned here under pañcama. list_item
via surya_layout
41 41. "Dākṣiṇātya is identified with Deccan; that part of India that lies list_item
via surya_layout

vol_II_p085 RIGHT — 33 lignes

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1 153 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Being combined with sadja as the initial and concluding note, being main
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4 complete and born of deśa (region), having concert between ṛṣabha and main
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5 șadja, the svaras comprised of two śrutis each being of sparse nature, this main
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6 ābhīrī<sup>26</sup> is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī. main
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7 (68) annotation_inline
parent ligne 6
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8 Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī, main
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9 Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā. main
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10 Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā. main
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11 Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā main
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12 sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī. main
via surya_layout
13 Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā. main
via surya_layout
14 Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī. main
via surya_layout
15 Mapāgāri. Sanisāsā. Ābhīrī [vi] editorial_bracket
parent ligne 14
via heuristic_brackets
16 Khañjanî has pañcama as amśa, ṣaḍja as the concluding note, is devoid of main
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17 dhaivata, there is concert between ṣaḍja and niṣāda and similarly between main
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18 madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed), main
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19 giving delight to all people. main
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20 (69) annotation_inline
parent ligne 19
via heuristic_short
21 Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni. main
via surya_layout
22 Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā. main
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23 Ni. Nimanisarisagasāsā. Khanjanī [vii] editorial_bracket
parent ligne 22
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24 Having niṣāda as amśa, ṣadja as the concluding note, gurjarī is born of deśa main
via surya_layout
25 (region). There is the combination<sup>27</sup> of niṣāda-ṛṣabha and similarly of main
via surya_layout
26 madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones main
via surya_layout
27 in music as being complete. main
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28 (70) annotation_inline
parent ligne 27
via heuristic_short
29 Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī. main
via surya_layout
30 Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā. main
via surya_layout
31 Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari. main
via surya_layout
32 Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari. main
via surya_layout
33 Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii] editorial_bracket
parent ligne 32
via heuristic_brackets

vol_II_p025 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 33 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Kaiśikī is (the only one) with six aniśa svaras - sa, ga, ma, pa, dha, ni. main
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4 Ṣaḍja - madhyamā is (the only one) with seven amśa svaras - sa, ri, ga, ma, main
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5 pa, dha, ni. main
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6 1 page_number
via heuristic_pagenum
7 Thus sixty-three amsas have been explained. main
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8 Madhyamodīcyavā and similarly gāndhārapañcamī and nandayantī, these main
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9 three are known to be with one anisa viz. pancama. main
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10 (241) annotation_inline
parent ligne 9
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11 Dhaivatī and pañcamī, these two should be known with two amśa (svaras) main
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12 each viz. dhari and ripa. Gāndhārodīcyavā is with two (amśa svaras) viz. main
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13 madhyama and şadja. annotation_inline
parent ligne 12
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14 (242) main
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15 In ārṣabhī niridha, in naiṣādī the three niriga (and) in ṣaḍjakaiśikī sagapa are main
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16 amsa (svaras); (these) three are said to be with three amsas each. main
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17 (243) annotation_inline
parent ligne 16
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18 Şadjodīcyavatī is known to be with four amśasviz. samanidha, kārmāravī is main
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19 with ripanidha, andhrī also with garinipa. main
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20 (244) annotation_inline
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21 Ṣāḍjī is with sagamapadha (as amśas), madhyamā is also with five amśas viz. main
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22 sarimapadha, gāndhārī is with sagamanipa and similarly is raktagāndhārī with main
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23 the same five amśas. Kaiśikī is the one (jāti) that is known to have six amśas main
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24 viz. sagamapanidha. annotation_inline
parent ligne 23
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25 <math>(245-246)</math> main
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26 Ṣadjamadhyā is with seven amsas and thus those amsas are sixty-three (in main
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27 total). main
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28 [7. Prescription regarding the performance of jātis] section_header
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29 Jātis are those that give rise to grāma-rāgas through their amśas.43 main
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30 (247) annotation_inline
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31 During their performance the prescription (regarding temporal main
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32 organisation) is based on yugma<sup>44</sup> (lit.even) and ayugma<sup>45</sup> (lit.odd). They main
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33 are to be performed with three 46 mārgas viz. citra, vārtika and dakṣiṇa. main
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34 (248) main
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171 lignes a valider — change uniquement les roles incorrects.